K. 


^. 


?4C 


GIOVANNI 

ANTONIO 

BAZZI 


R.  H.  HOBART  CUST 


REESE  LIBRARY 

OF  THE 

UNIVERSITY  OF  CALIFORNIA. 
Class 


1 


I 


\ 


GIOVANNI    ANTONIO    BAZZI 

HITHERTO   USUALLY   STYLED   "SODOM A" 

THE    MAN    AND    THE    PAINTER 

1 477- 1 549 


'7/     ''/"  •        f  i> 

y//)-   .  yi//rn:t/  7iti     .  /{/•///I- 


GIOVANNI  ANTONIO  BAZZI 

HITHERTO     USUALLY     STYLED     "SODOMA" 

THE    MAN    AND    THE    PAINTER 

1477-1549    . 

A    STUDY 
BY    ROBERT    H.    HOBART    CUST 

M.A.    MAGDALEN    COLLEGE,    OXFORD 


LONDON 
JOHN    MURRAY,   ALBEMARLE   STREET,   W. 

1906 


!©■'"•'■?■ 


J<v 


PRINTED  BY 

HAZELL,   WATSON   AND   VINKY,    LD.; 

LONDON  AND  AYLESBURY. 


TO     MY    DEAR    AND     HONOURED 

FATHER 

AND    TO    THOSE    KIND    AND     FAITHFUL 

FRIENDS    WHO     HAVE    HELPED    SO    LOYALLY    IN 

ITS     CONSTRUCTION,     THIS    BOOK    IS 

GRATEFULLY    DEDICATED 


167142 


PREFACE 

The  unbiassed  impressions  of  a  fairly  cultured 
thinker,  who  sets  himself  conscientiously  to  study 
any  particular  subject  or  personality,  can  scarcely 
fail  to  prove  of  some  slight  value  or  produce  some 
tangible  result,  though  critics  of  History  and  Art 
may  easily  find  openings  for  stricture  in  state- 
ments or  conclusions.  This  study  does  not,  how- 
ever, set  up  any  pretensions  io  finality  from  either 
point  of  view.  I  would  invite  the  reader  to  follow 
me  attentively,  since  I  have  endeavoured  to  gather 
together  the  fruits  of  my  more  gifted  predecessors' 
researches,  and  to  compose  from  their  records  a 
just  and  fair-minded  picture  of  Giovanni  Antonio 
Bazzi,  the  Man  and  the  Painter ;  refraining  from 
giving  undue  prominence,  detrimental  to  faithful 
portraiture,  to  any  single  part  of  his  history. 
To  do  this  I  have,  as  far  as  was  reasonably 
possible,  examined  at  their  original  sources  all  the 
documents  I  could  obtain  access  to  ;  a  task  which 
has  enabled  me  at  times  to  draw  certain  inferences 
not  always  deducible  from  copies,  or  even  from  the 
writings  of  the  most  distinguished  critics. 

Here  certain  writers  on  Art  will  no  doubt  join 
issue  with  me ;  but  I  can  only  reply  that  my  fore- 
most object  has  been  to  collect  the  straw,  for  better 


viii  PREFACE 

men  to  make  into  bricks.  If  I  have  been  constrained 
to  put  forward  views  and  opinions  differing  from 
those  of  the  learned  writers,  who  have  approached 
the  subject  before  me,  I  have  endeavoured  to  do 
so  with  a  just  appreciation  of  the  honesty  and 
single-mindedness  of  their  point  of  view,  and  their 
merits  in  other  directions.  Many  have  actually 
assisted  me  personally ;  while  to  the  writings  of 
others  I  owe  information  and  suggestions,  without 
which  this  book  could  never  have  taken  shape.  I 
owe  much  even  to  those  who  cordially  dislike  the 
subject  of  this  study;  for  without  an  endeavour  on 
my  part  to  comprehend  their  standpoint,  it  would 
have  been  impossible  to  form  an  equitable  estimate 
of  the  extremely  complex  nature  of  this  artist. 

It  is  in  its  very  complexity  that  the  keynote  to 
this  versatile  character  is  struck.  Were  Bazzi  not 
so  disconcerting  as  an  artist, — so  extraordinary 
a  compound  of  surpassing  genius,  and,  at  times, 
equally  surpassing  ineptitude, — it  is  doubtful 
whether  any  art-critic,  from  Vasari  downwards, 
would  have  troubled  to  break  lances  over  his 
personal  character. 

One  of  the  best-known  of  modern  art-critics  once 
most  aptly  put  the  question  to  me  in  a  nutshell. 
"  Sodoma,"  said  he,  "was  an  extremely  immoral 
m,an.  I  do  not  mean  in  personal  character, — with 
that  I  have  nothing  to  do, — but  because  with  such 
gifts  and  such  talents  he  should  have  let  himself 
drift  into  work  that  would  disgrace  any  artist." 
Despite  its  severity,  this  appreciation  defines  the 
crttx  of  our  difficulty  in  reckoning  up  his  merits 
and  marking  his  place  in  Art-History ;  and  I  for 


PREFACE  ix 

one,  although  profoundly  admiring  Bazzi's  best 
work, — in  proof  whereof  I  have  expended  no  little 
time,  trouble  and  labour,  in  order  to  produce  an 
impartial  study  of  the  painter, — cannot  deny  the 
fundamental  truth  of  the  judgment.  My  own 
detailed  opinion  will  be  found  in  the  text,  but  no 
lengthy  summing  up  could  better  express  the  Art- 
Critic's  point  of  view;  which  has  undoubtedly  also 
coloured  the  Historian's. 

The  list  of  persons  to  whom  I  owe  direct  thanks 
for  assistance  is  a  long  one,  and  contains  many 
names  distinguished  in  the  world  of  Art  and 
History.  Among  them  I  would  tender  most 
grateful  recognition  to  Dr.  Gustavo  Frizzoni, 
Conte  Alessandro  Baudi  di  Vesme  (Director  of 
the  R.  Pinacoteca,  Turin),  Cav.  Francesco  Negri 
(Casale-Monferrato),  Sig.  Pietro  Masoero  and 
Colonello  Cesare  Faccio  (Vercelli),  Cav.  Attilio 
Pagliaini  (Librarian  of  the  University,  Genoa), 
Comm.  Corrado  Ricci,  Cav.  I.  B.  Supino,  and 
Cav.  Nerino  Ferri  (Florence),  Cav.  Adolfo  Venturi 
and  Marchese  Alessandro  Ferrajuoli  (Rome),  Cav. 
Alessandro  Lisini,  Conte  Francesco  Bandini  Pic- 
colomini,  Cav.  Fortunato  Donati,  Cav.  Narciso 
Mengozzi,  Sig.  Alfredo  Liberati  and  Aw.  Carlo 
Pacchetti  (Siena),  Sir  Richard  R.  Holmes,  Messrs. 
Bernhard  Berenson,  Herbert  P.  Home,  Roger  Fry, 
Charles  Loeser,  F.  Mason  Perkins,  William  Hey- 
wood,  R.  Langton  Douglas,  L.  H.  Cust,  Sidney 
Colvin,  Edward  McCurdy,  Luigi  Villari,  Dr. 
Cornelius  Fabriczy,  and  Dr.  Charles  Waldstein  ; 
Signorina  Laudomia  Lombardi  (Siena),  Signora 
Evelyn  Franceschi  Marini  (S.  Sepolcro),  Contessa 


X  PREFACE 

Priuli  Bon  (Milan),  Mesdames  Helbig  (Rome), 
Julia  Cartwright,  Mary  Logan,  Lucy  Olcott,  and 
Misses  Ethel  Halsey  and  N.  Ryerson. 

But  more  than  special  acknowledgments  are 
due  from  me  to  Charles  Kains  Jackson,  who  (in 
1897)  originally  inspired  me  with  the  idea  of  this 
work  ;  to  Fraulein  Uta  von  Weech,  whose  help 
in  furnishing  me  with  translations,  photographs 
and  information, — more  particularly  at  the  outset, 
— set  it  going  ;  and  to  Mrs.  J.  P.  Richter,  whose 
unwearied  encouragement,  advice  and  practical 
suggestions  kept  the  book  in  being,  through  count- 
less delays  and  disappointments.  Whilst  Miss  M. 
Mansfield's  assistance  in  correcting  and  preparing 
the  proofs  has  been  invaluable. 

Finally,  I  have  to  thank,  with  all  due  appreciation 
and  gratitude,  my  patient  painstaking  secretary 
and  companion,  Mr.  Henry  Burton,  whose  share 
of  the  labour,  physical,  mental  and  mechanical, 
entailed  in  collecting  material  and  preparing  it  for 
the  press,  has  been  no  light  one. 

Note. — I  would  ask  the  reader  to  observe  that,  since  this 
study  is  fundamentally  drawn  from  the  records  preserved 
by  three  writers  (Vasari,  Delia  Valle,  and  Romagnoli),  it 
should  be  understood  that,  unless  special  note  is  made  to 
the  contrary,  the  editions  of  the  works  referred  to  are 
in  every  case  as  follows  : — Giorgio  Vasari,  Vite  dei  pin 
eccellenti  Pittore,  etc.  :  Sansoni,  Firenze,  1881  ;  with 
Comm.  Gaetano  Milanesi's  Notes  and  Commentary  ap- 
pended. Padre  Guglielmo  Delia  Valle,  Lettere  Sanest: 
Roma,  1786.  Ettore  KomdignoW,  Biograpkia  Cronologica 
de  Bellartisti  Senesi  dal  Secolo  XII  a  tutto  il  XVII I ^ 
MS.  Communal  Library,  Siena. 


CONTENTS 

CHAPTER   I 

Giovanni  Antonio  Bazzi 

PAGE 

Name  of  Razzi  incorrect  ;  Name  of  Tizoni  ;  Birthplace  of  Giovanni 
Antonio  Bazzi  ;  Vergelle  fiction  ;  Date  of  birth  ;  Vasari's  bril- 
liance and  industry  as  a  writer  ;  Danger  of  trusting  to  him  too 
implicitly ;  His  personal  animosity  ;  The  Renaissance  point  of 
view ;  Sources  of  his  information  ;  Traditional  origin  of  the 
nickname  "  Sodoma  "  ;  Vasari's  severest  charges  ;  Reputation  ; 
Bazzi's  titles  ;  Burlesque  Catalogue  of  his  possessions ;  Poem  by 
Eurialo  Morani  d'Ascoli  ;  Summary  of  Bazzi's  character        .         .         i 

CHAPTER   n 

Early  Years  and  Apprenticeship 

Researches  of  Bruzza,  Colombo,  and  Faccio  ;  The  Vercelli  Archives ; 
Giacomo  Bazzi;  The  "Humble  Cobbler";  The  Bazzi  Family; 
Angelina  Bazzi ;  Niccolo  Bazzi  ;  Giovanni  Antonio's  apprentice- 
ship ;  Martino  Spanzotto  ;  Family  of  Spanzotti  ;  Paintings  by 
Martino  Spanzotto  ;  The  Genealogy  of  the  Madonna  ;  Spanzotto's 
influence  ;  Defendente  Deferrari ;  Influence  of  Macrino  d'Alba  ; 
Influence  of  Leonardo  da  Vinci ;  Bazzi's  departure  from  his  early 
home 28 


CHAPTER   HI 

Early  Work  in  Siena 

Commencement  of  Vasari's  narrative  ;  French  invasion  of  Milan ; 
The  Spannocchi ;  Bazzi's  study  of  the  work  of  Giacomo  della 
Quercia  condemned  by  Vasari  ;  His  skill  in  Portrait  painting: 
Ginhouliac  Madonna  and  Child  axiA  Frankfort  Portrait  of  a  Lady  ; 

?4 


xii  CONTENTS 

PAGE 

His  draughtsmanship  ;  Vasari's  worst  accusation  ;  General  use  of 
male  models  ;  Bazzi's  passion  for  animals  ;  His  "  Noah's  Ark"  ;  His 
friendship  with  the  Prince  of  Piombino  ;  Giacomo  della  Quercia's 
statues  on  the  Fonte  Gaia ;  Pictures  painted  for  the  Savini 
Family;  "Nativities";  The  Descent  from  the  Cross      .  .       56 

CHAPTER    IV 

Early  Frescoes  and  Paintings 

Bazzi  at  S.  Anna  in  Greta ;  Padre  Lugano's  researches  ;  Frescoes 
in  the  Refectory  ;  Types  ;  Umbrian  Elements  ;  Introduction  of 
the  ruins  of  Ancient  Rome  ;  Portraits  specially  stipulated  for ; 
Influence  of  Pinturicchio  (?) ;  Interval  of  a  year  between  work  at 
S.  Anna  and  at  Monte  Oliveto  Maggiore  ;  Allegorical  Cycle  ; 
Schuchhardt's  views  ;  Christ  bearing  His  Cross  ;  Frescoes  at 
Monte  Oliveto  Maggiore  ;  Bazzi's  own  portrait ;  77^1?  Temptation 
of  the  Monks ;  Bazzi's  extravagances ;  His  animals  ;  His  dili- 
gence ;  The  nickname  of"  Mattaccio"  ;  Vasari's  mistakes  ;  Bazzi's 
pupils  ;  Vincenzo  Tamagni  ;  Michelangelo  Anselmi  ;  Mantegna's 
designs ;  At  San  Gimignano ;  Bazzi  compared  with  Luca 
Signorelli  ;  Don  Gaetano  di  Negro 75 

CHAPTER   V 

First  Visit  to  Rome 

Agostino  Chigi  ;  Bazzi  visits  Rome  ;  Employed  in  the  Vatican  ; 
Sigismondo  Chigi  ;  The  Ceiling  of  the  "  Camera  della  Segna- 
tura "  ;  Bazzi  and  Raphael ;  Youthful  Portraiture  ;  Portrait  of 
Raphael  ;  Bazzi's  return  to  Siena  ;  His  marriage  with  Beatrice 
de'  GaUi ;  Their  children  ;  The  Sienese  "  Palii "  ;  Entries  in  the 
Sienese  Archives  ;  Francesco  Gonzaga,  Marquis  of  Mantua  ;  The 
Florentine  "  Palio "  ;  The  Cenacolo  in  the  Florentine  Olivetan 
Convent ;  Commission  from  the  Opera  del  Duomo,  Siena  ;  Bazzi 
as  a  sculptor 107 

CHAPTER   VI 

Second  Visit  to  Rome 

Christ  at  the  Column;  Probable  date  ;  Fra  Luca  da  Montepulciano  ; 
Bazzi  visits  Rome  a  second  time  ;  The  Villa  Farnesina  ;  Foerster's 
Essays  thereon  ;  His  views  as  to  the  date  of  Bazzi's  work  ; 
Description  of  the  Frescoes ;  Drawings  and  engravings  by 
Raphael  and  others  for  a  Marriage  of  Alexander  and  Roxana  ; 
Meeting  of  Bazzi  and  Pietro  Aretino  ;  The  "  Roxana "  Idyll  ; 
Bazzi's  Types ,        ,        .         ,     127 


CONTENTS  xiii 

CHAPTER   VII 

IMiDDLE    Period 

PAGE 

The  Title  of  "  Cavalier  of  Christ "  ;  Leo  X.  ;  Paintings  of  Lucretia; 
Eurialo  Morani  d'Ascoli ;  Bazzi  returns  to  Siena ;  Matteo 
Balducci's  apprenticeship  ;  Doubts  as  to  his  identity ;  His 
paintings  ;  The  Oratory  of  S.  Bernardino  ;  Frescoes  by  Bazzi, 
Beccafumi,  and  Pacchia  ;  Letters  to  the  Marquis  of  Mantua  and 
Duke  of  Ferrara  ;  Paintings  oi  Lucretia  ;  Bazzi  leaves  Siena  for 
Northern  Italy  ;  Reggio  Emilia  ;  Did  Bazzi  ever  live  at  Parma  ? 
Michelangelo  Anselmi  ;  The  Madonnone 150 

CHAPTER   VIII 

Fame  and  Fortune 

Bazzi  returns  once  more  to  Siena  ;  Intestine  disturbances  ;  His  work 
for  Religious  Confraternities  ;  The  ^.  Sebastian  Banner  ;  The 
Chapel  of  S.  Catherine  in  S.  Domenico  ;  Lo  Svenimento ; 
Francesco  Vanni  completes  Bazzi's  ideas  ;  The  Agony  in  the 
Garden,  The  Descent  into  Limbo;  Eve;  Bazzi's  illness  in 
Florence  ;  Giomo  del  Sodoma's  theft ;  The  Florentine  "  Palio  "  ; 
Frescoes  in  the  Palazzo  Pubbhco,  Siena  ;  The  Spanish  Chapel  in 
S.  Spirito  ;  The  completion  of  the  Oratory  of  S.  Bernardino  ;  The 
Assumption  of  the  Virgin;  Porta  Pispini  ;  The  Nativity ;  Bazzi's 
portrait ;  La  Madonna  de'  Calzolari 171 

CHAPTER   IX 

Final    Period 

"La  Cappella  di  Piazza"  ;  Its  history  ;  Bazzi's  commission  ;  His  visit 
to  the  Prince  of  Piombino  ;  The  Title  of  Count  Palatine  (?) ; 
Further  commissions  from  the  Sienese  authorities  ;  The  Resur- 
rection; Similar  Painting  at  Naples  ;  The  Adoration  of  the  Magi 
at  S.  Agostino  ;  Its  probable  date  :  La  Madonna  del  Corvo ;  Other 
paintings  at  this  period  ;  Caterina  de'  Peri  de'  Galli  ;  Her  Will  ; 
Bazzi's  daughter,  Faustina  ;  Her  marriage  ;  Her  children  ;  Bazzi's 
property  ;  His  visit  to  Volterra  ;  Signorelli's  Circumcision  ;  Bazzi 
goes  to  Pisa  ;  Commissions  from  the  Opera  del  Duomo ;  The 
Sacrifice  of  Abraham  ;  S.  Maria  della  Spina ;  Visit  to  Lucca ; 
Final  return  to  Siena  ;  Letter  from  Pietro  Aretino  ;  Bazzi's  death  ; 
Vasari's  falsehoods 205 


xiv  CONTENTS 

CHAPTER  X 
Bazzi's  Scholars 

PAGE 

Girolamo  Magagni  (Giomo  del  Sodoma) ;  His  paintings  ;  Lorenzo 
Brazzi  (il  Rustico) ;  His  character  and  work  ;  Bartolommeo 
Negroni  or  Neroni  (il  Riccio)  ;  Additional  facts  concerning  him  ; 
General  summing-up  of  the  character  and  aims  of  Giovanni 
Antonio  Bazzi  as  Man  and  Painter 239 

APPENDIX 
Note  on   the  various  portraits  of    Bazzi  by  himself  and 

OTHERS 251 

Note  on  the  Currency 254 

Documents 256 

Pictures  by  Giovanni  Antonio  Bazzi,  called  Sodoma      .        .341 

Drawings 362 

Pictures  Attributed 37 ^ 

Missing  Pictures 384 

Drawings  Attributed 39° 

Missing  Drawings 398 

Authorities  consulted 399 


LIST    OF    ILLUSTRATIONS 


Head  of  Roxana.    Detail  from  the  "  Marriage  of  Alexander 

AND  Roxana."    The  Farnesina,  Rome.     Photogravure    .  Frontispiece 


Madonna  and   Child   by   Martino   Spanzotto.       Royal   Picture 
Gallery,  Turin,  Room  II.,  No.  30a.     Photograph  by  Anderson, 


Ro?ne 


Facing   41 


The  Genealogy  of  the  Madonna.  School  of  Spanzotto. 
Church  of  S.  Agostino,  Casale  Monferrato.  Photograph  by 
Cav.  Francesco  Negri,  Casale     ....... 

The  Holy  Family.  Borgc^na  Collection,  Vercelli.  Photograph 
by  Dubray,  Milan     ......... 


5.  Portrait  of  a  Lady.    Stadel  Gallery,    Frankfurt-on-the-Maine. 

Photograph  by  Bruchnann,  Munich  ..... 

6.  Madonna    and    Child.    Richter  Collection,   London.      (Before 

restoration.)     Photograph  by  Mr.  H.  Burton,  Florence    . 

7.  Ditto.   (After  restoration.)   Photograph  by  Braun,  Clement  &^  Cie, 

Paris 

8  &  9.  Statues  of  Rhea  Silvia  and  Acca  Laurentia  by  Giacomo 
della  Quercia,  from  the  Fonte  Gaia,  Siena.  Photographs  by 
Alinari,  Florence      ......... 


ID. 


Studies  from  the  above  by  Bazzi.     Uffizi,  Florence. 
graph  by  Brogi,  Florence 


Photo- 


Head  of  thr  Madonna.    Detail  from  theLeccetto  "Nativity." 
Siena  Academy.    Photograph  by  Lombardi,  Siena    Photogravure 

The  Swooning  Virgin.    Detail  from  the  "  Deposition."    Siena 
Academy.     Photograph  by  Lombardi 


13- 


Two    Legionaries. 
Lombardi 


Detail    from    the    same.      Photograph    by 


46 
52 
59 
65 
65 

66 
66 
69 
72 
72 


xvi  LIST   OF    ILLUSTRATIONS 

PAGE 

14.  Specimen  of  G.  A.  Bazzi's  Handwriting.    S.  Anna  in  Creta 

Contract.    Photograph  by  Mr.  H,  Burton Facing  74 

15.  Head  OF  THE  Magdalen.     Detail  from  the  "  PietX."     S.Anna 

in  Creta.     Photograph  by  Lombardi ,,        80 

16.  Charitas.     Royal  Museum,  Berlin.     Photograph  by  Hanfstaengl, 

Munich    .............        85 

17.  The  Broken  Cribble.    Scene  from  the  "  Life, of  S.  Benedict." 

Monte  Oliveto  Maggiore.     Photograph  by  Lombardi  .         .         .       „        89 

18.  Choir  iof  iSingers.     Detail  from  Scene  23  of  the  "  Life  of  S, 

Benedict."    Monte  Oliveto  Maggiore.    Photograph  by  Lombardi      ,,        98 

19  &  20.  Female  Heads.  Details  from  Scene  19,  "  The  Temptation 
OF  THE  Monks."  Monte  Oliveto  Maggiore.  Photographs  by 
Lombardi.         .         .         .         .         .         .         .         .         .         ,       ,,        98 

21.  Madonna  and  Child  with  an  Olivetan  Monk.    Fresco  by 

Vincenzo  Tamagni.     Monte  Oliveto  Maggiore.     Photograph  by 
Ij)mbardi .         .         .         .         .    '     .         .         .         .         .         •       >>       100 

22.  Charitas.     Bobrinsky  Collection,  Rome ,,      102 

23.  Ceiling  of  the  Camera  della  Segnatura.  Vatican,  Rome. 

Photograph  by  Alinari      .         .         .        .         .         .         .         .,,110 

24.  Head    of    a    Youth.      Pencil    Sketch.      Malcolm    Collection, 

British  Museum,  London ,,113 

25.  Head  of  a  Youth  with  Long  Hair.     (Portrait  of  Raphael?). 

Pencil  Sketch.     Christ  Church,  Oxford ,,114 

26.  Risen  Christ.     Statuette,     Bandini  Piccolomini  Tomb,  Duomo, 

Siena.     Photograph  by  Lombardi       .         .         .         .         ,         .       ,,       126 

27.  Christ    at    the    Column.      Siena    Academy.      Photograph  by 

Lombardi  ..4         .......       „      128 

28.  The    Marriage   of    Alexander    and    Roxana.     Farnesina, 

Rome.     Photograph  by  Braun,  Clement  &■'  Cie,  Paris       .         .       ,,      134 

29.  St.  George  and  the  Dragon.     Sir  Frederick  Cook's  Collection, 

Richmond ,,      165 

30.  LUCRETIA.      Kestner   Museum,  Hanover.      Photograph  bv  Bruck- 

mann        .............      166 

31.  Madonna  and   Child.      Ginoulhiac  Collection,  Milan.      Photo- 

graph by  Marcozzi,  Milan  .         .         .         .         .         .         .       ,,      170 

32.  S.  Sebastian.     Uffizi,  Florence.    Photograph  by  Anderson    .         .       ,,      174 


LIST    OF    ILLUSTRATIONS  xvii 

PAGE 

33.  The  Swoon  of  S.   Catherine.     (Lo  Svenimento.)    Church 

of  S.  Domenico,  Siena.     Photograph  by  A linari         .         .         .  Facing  1"]% 

34.  Study  for  the  Same.     Uffizi  (Santarelli  Collection),  Florence. 

Photograph  by  Brogi ,,       178 

35.  Head  of  a  Young  Centurion.    Detail  from  the  "  Execution 

OF  Niccol6  Tuldo."      S.  Domenico,   Siena.     Photograph  by 
Lombardi ,,      180 

36.  Head  of  a  Sleeping  Apostle.     Detail  from  the  "Agony  in 

the  Garden."     Siena  Academy.     Photograph  by  Alinari        .       „      185 

37.  Adam  and  Eve.      Detail  from  the   "  Descent  into   Limbo." 

Siena  Academy.     Photograph  by  Alinari  .         .         .         .         .       ,,       186 

38.  S.  ViTTORlo.     :^alazzo  Pubblico,  Siena.     Photograph  by  Alinari    .       ,,      194 

39.  Head  of  the  Madonna.    Detail.    Chapel  of  the  Palazzo  Pubblico, 

Siena.    Photograph  by  Lombardi        .         .         .     Photogravure      ,,       195 

40.  S.   Sebastian.    Detail.    Spanish  Chapel,   Church  of  S.  Spirito, 

Siena.     Photograph  by  Alinari.  .......       197 

41.  Choir    of   Putti.    Detail   from    the    "Assumption   of    the 

Virgin."     Oratorio  di  S.   Bernardino,  Siena.     Photograph  by 

Lombardi Photogravure      ,,      200 

42.  Head  of  an  Angel.     Detail.     Porta  Pispini,  Siena.     Photograph 

by  Mr.  Edmund  Houghton,  Florence .         .         .         .         .         .       „      202 

43.  Choir  of  Angels.     Detail  from  the  same  fresco.    Photograph 

by  Alinari         ............      202 

44.  Eagle    and    Putti.      Palazzo  Pubblico,   Siena.     Photograph  by 

Lombardi.         ...........      215 

45.  Madonna  and  Child.     Detail  from  the  "  Adoration  of  the 

Magi."     Piccolomini  Chapel,   Church  of  S.   Agostino,  Siena. 
Photograph  by  Lombardi   .    •    .         .         .        ,         .         .         .       ,,216 

46.  Head  of  the  Young  King.     Detail  from  the  same.      Photo- 

graph by  Lombardi    ...........      216 

47.  The  Nativity  of  the  Virgin.     Church  of  the  Carmine,  Siena. 

Photograph  by  Alinari      .         .         .         .         .         .         .         .       ,,      219 

48.  Head  of  Eve.      Detail  from    the    "  Descent   into    Limbo." 

Siena  Academy.     Photograph  by  Alinari  .         .      Photogravure      ,,      246 

49.  Head  of   Leda.      Drawing.     Castello   Sforzesco,  Milan.     Photo- 

graph by  Monteboni,  Milan        ........      246 


xviii  LIST   OF   ILLUSTRATIONS 

PAGS 

50.  Head  of  a  Madonna.    Detail.     Casino  Borghese,  Rome  .  Photo- 

graph by  Anderson    Facing  24,^ 

51.  Portraits  of  Giovanni  Antonio  Bazzi  : — 

(a)  By  himself.    Monte  Oliveto  Maggiore.    Photograph  by  Alinari      „      252 

(b)  Ditto.       Drawing.     Uffizi,  Florence.      Photograph  by  E. 

Houghton ,      252 

(<-)        Ditto.     Uffizi,  Florence.     Photograph  by  Alinari    .         .       ,,      252 
(</)       Ditto.     Pitti,  Florence.     Photograph  by  Brogi         .         ,       „      252 

Other  Portraits  by  the  same  Master  :— 

(a)  Portrait  of  a  Bearded  Man.      Pastel.      British  Museum, 

London.     Photograph  by  Braun  Clement  &=  Cie,  Paris      ,,      252 

((5)  Portrait  of  a  Milanese  Nobleman  (?).  Drawing.  Albertina, 

Vienna        .         .         . ,,      252 

52.  Christ  Bearing  His  Cross.     Monte  Oliveto  Maggiore.     Photo- 
by  Lombardi Photogravure       ,,      348 


53.  (.a)  S.  Jerome  in  the  Desert.     Saunders  Collection,  London       .       ,,      359 

(^)          >)             ,,             ,,              Mond  Collection,  London.   Photo- 
graph by  Dixon ,,      359 

54.  Head  of  the  Moorish  King.    Study  for  the  "  Adoration  of 

the  Magi."     S.  Agostino,  Siena.    Photograph  by  Mr.  H.  Burton      ,,      362 

55.  Head  of  a  Youth  crowned  with  Laurel.    Drawing.    Uffizi,  1 

Florence.     Photograph  by  Brogi ,,      364 

56.  The  Holy  Trinity.      Drawing.      Uffizi,  Florence.     Photograph 

by  Mr.  Edmund  Houghton ,,      364 


*,K*  The  illustrations  for  this  work  have  been  selected  rather  with  a  view  to  assist 
the  student  to  form  an  opinion  of  Bazzi's  methods  and  artistic  development ;  and  not 
merely  to  reproduce  well-known  works  that  are  within  general  reach  and  cognizance. 


CHAPTER   I 

GIOVANNI    ANTONIO    BAZZI 

Giovanni  Antonio  Bazzi,  or  de  Bazis,  was  born 
at  Vercelli,  in  Piedmont,  in  the  year  1477.  This 
proposition  sounds  simple  enough  ;  but  the  state- 
ment alone  raises  issues  that  have  been  deliber- 
ately misstated  over  and  over  again  by  various 
authors,  principally  Sienese,  in  the  course  of  the 
last  three  centuries.  The  researches  undertaken 
in  the  Archives  at  Vercelli  by  the  learned  Barna- 
bite,  Padre  Luigi  Bruzza,^  have,  however,  thrown 
considerable  light  on  these  points,-and  have  settled 
some  of  them  once  and  for  ever. 

In  the  first  place,  authority  after  authority,  from 
Padre  Ugurgieri  onwards  ^  down  to  the  present 
time,  has  called  him  Razzi,  while  in  divers  cata- 
logues of  the  galleries  of  Europe,  both  public  and 
private,  he  still  passes  under  that  name.^  Pre- 
sumably this  error  arose  from  the  misreading  of 

^  Padre  Luigi  Bruzza,  B.,  Notizie  intorno  alia  patria  e  at  priini  studi 
del  pittore  Giovan  Antonio  Bazzi  detto  il  Sodoma.  Miscellanea  di 
Storia  lialiana,  vol.  i. :  Torino,  1862. 

^  Padre  Isidoro  Ugurgieri-Azzolini,  Le  Pompe  Sanesi,  vol.  ii.  cap.  xliv. 
P*  353-  Pistoia,  1649.  This  author  commences  his  sketch  of  our  hero 
by  categorically  contradicting  Vasari  as  to  his  birthplace. 

^  The  Times  continues  to  perpetuate  this  error.  In  Redford's  Picture 
Sales  of  the  Century  no  pictures  by  either  Bazzi  or  Sodoma  are 
chronicled  as  such ;  all  the  works  there  assigned  to  the  subject  of  this 
monograph  being  catalogued  under  Razzi. 

I 


2  GIOVANNI    ANTONIO    BAZZI 

some  document  by  an  ignorant  copyist,  for  no 
possible  doubt  remains  now  that  his  father's  name 
was  Giacomo  de  Basis,  more  commonly  written 
Bazzi.  This  name  with  variants  seems  to  have 
been,  and  is  still,  a  fairly  common  one  in  Piedmont 
and  Lombardy.  We  find  Bozis  and  Bozzi,  Bosis 
and  Bassi  among  Piedmontese  artists  at  work  at 
the  end  of  the  fifteenth  and  the  commencement  of 
the  sixteenth  century.^  It  has  been  indeed  sug- 
gested by  Sig.  G.  Milanesi,^  in  commenting  upon 
the  fact  that  in  a  document,  dated  1518,^  in  the 
Ecclesiastical  Archives  of  Siena,  our  artist  is  de- 
scribed as  Messer  Giovannantonio  de  Tizoni,  detto 
il  Sodoma,  pittore  da  Verz^,  that  consequently 
Giacomo  de  Bazis  actually  belonged  to  the  noble 
Vercellese  family  of  "  de  Tizoni "  ;  but  having 
been  reduced  by  untoward  circumstances  to  exer- 
cise the  trade  of  a  shoemaker,  he  exchanged  his 
real  name  for  an  humbler  appellation  ;  and  that 
his  son,  on  becoming  a  famous  painter,  and  re- 
ceiving the  honour  of  knighthood,  wished  to 
resume  his  family  surname. 

Sig.  Milanesi  goes  on  to  propound  the  theory 
that,  when  in  later  years  Giovanni  Antonio  had 
become   impoverished,^  and  was   constrained    to 

^  Padre  Giuseppe  Colombo,  B.,  Documenti e  Notizie  intorno  agli  Artisti 
Vercellesi.  Vercelli :  Francesco  Guidetti,  1883.  We  may  notice  later 
that  Niccolb  Bazzi,  our  artist's  younger  brother,  married  a  daughter  of 
one  Giovanni  Battista  Bossi. 

^  Giorgio  Vasari,  Le  Vite  dei  piu  Eccellenti  Fittori,  etc.  Sansoni : 
Firenze,  1881,  vol.  vi.  {Commentary  by  Sig.  G.  Milanesi),  pp.  403-4. 

^  Archivio  di  Stato  di  Siena.  Archivio  de'  Resti  del  Patrimonio 
Ecclesiastico :  Compagnia  di  S.  Bernardino.  Libra  d^Entrata  ed  Uscita, 
segnato  C.  iii.  a.  c.  42.     1518. 

*  Vasari,  Op.  cit.,  p.  387,     "Cavaliere  senza  entrate." 


NAME    OF    TIZONI  3 

work  hard  for  his  living,  he  once  more  dropped  his 
aristocratic  surname.  Subsequent  researches  by 
Sig.  L.  Tanfani  Centofanti^  prove  this  conjecture  to 
be  ill-founded :  since  Bazzi  appears,  in  his  dealings 
with  the  Pisans,  not  only  to  have  given  himself 
that  surname,  but  to  have  even  described  his  father 
as  Jacopo  Tisoni  or  Tissoni.  This  circumstance 
might  perhaps  give  colour  to  Sig.  Milanesi's  first 
proposition,  but  not  to  the  last ;  since  at  the  time 
when  the  artist  was  working  at  Pisa  he  was  already 
advanced  in  years,  although  there  is  no  evidence 
to  show  that  at  the  time  of  his  death  he  was  so 
poor  as  has  been  stated. 

A  recent  critic^  goes  still  further,  and,  on  the 
strength  of  Sig.  Centofanti's  discoveries,  dropping 
the  name  of  Bazzi  altogether,  calls  the  painter 
Tisoni,  and  asserts  that  "  At  any  rate  for  the  last 
thirty  years  of  his  life  Sodoma  is  almost  always 
spoken  of  as  *  de  Tizioni '  or  'Jacopo  Tizioni ' 
(sic)."  We  would  in  the  first  place  remark  that 
there  is  absolutely  no  authority  for  this  mode  of 
spelling  (viz.  Tizioni) ;  and  next,  that  the  first 
record  of  the  name  Tizoni  occurs  in  15 18,  and 
then  but  once  only  among  a  number  of  entries  in 
which  Bazzi  is  alluded  to  by  his  sobriquet.  And 
no  later  mention  of  it  in  any  form  is  to  be  found 
until  we  come  to  the  notices  in  the  books  of  the 
Opera  del  Duomo  at  Pisa,  which  cover  several  years. 
Concurrently  be  it  stated,  that  in  a  deed,  dated 

^  L.  Tanfani  Centofanti,  Notizie  de'  Artisti.  Tratte  dei  Documenti 
Fisani,  pp.  270-4.     Pisa,  1898. 

2  R.  Langton  Douglas,  History  of  Siena,  p.  397.  John  Murray : 
London,  1902. 


4  GIOVANNI    ANTONIO    BAZZI 

October  23rd,  1534/ which  sets  forth  the  purchase 
by  the  artist  of  a  house  in  the  Vallerozzi  quarter, 
he  is  styled,  '' Magnifico  et  generoso  equiti  Domino 
Joanni  Antonio  J acomi  de  Basis,  pictorj  de  Verzt, 
alias  el  Sogdoma  "  /  showing  that  officially,  at  any 
rate,  Bazzi  then  went  by  his  earlier  patronymic, 
and  that  that  name  had  been  superseded  neither 
by  Tizoni  nor  by  the  sobriquet.  Neither  does 
the  fact  that  he  is  described  as  "  Sodoma  "  only, 
or  its  variants,  in  official  commissions,  entries  in 
account-books,  etc.,  and  in  the  correspondence 
with  the  Prince  of  Piombino,  support  Mr.  Douglas' 
very  sweeping  assertion.  Mr.  Douglas  further  2 
argues  that  the  version  Tisoni  in  the  Pisan  docu- 
ments is  due,  not  to  the  error  of  a  careless  scribe, 
but  to  the  fact  that  in  Piedmont  the  double  "z" 
is  softened  into  "  s."  This  would  be  a  plausible 
plea  had  the  documents  in  question  been  registered 
in  the  archives  of  a  Piedmont ese  town.  In  Vercelli 
itself  it  has  yet  to  be  discovered  whether  in  written 
evidence  the  Tizzoni  family-name  ever  appears 
thus  softened;  and  the  Bazzi  family  certainly  always 
figure  therein  as  '' de  Basis''  and  not  '' Basis'' 
But  the  contention,  such  as  it  is,  falls  to  the  ground, 
since  the  records,  in  which  these  readings  occur, 
are  both  Ttiscan — i.e.  drawn  up  in  a  district  where 
this  suggested  modification  does  not  hold  good. 

Padre    Bruzza    asserts    that    the    artist    only 
assumed  the  patronymic  out  of  sheer  vanity  and 

1  Archivio  Notarile  Provinciale  di  Siena.  Rogiti  di  Ser  Corti 
Baldassare  di  Pienza.  Gestioni  Notarili  anteriori  all'  anno  1585. 
Reparto  A,  Busta  988,  No.  192. 

2  The  Burlington  Magazine,  May  1902,  vol.  i.,  No.  3. 


FRANCESCO    DE'   TIZONI  5 

caprice  :  but  whatever  may  have  been  the  reason 
for  his  assuming  this  surname,  Francesco  de'Tizoni 
{Francexio  de  TicionibusY  v^diS  one  of  the  witnesses 
to  the  Articles  of  Apprenticeship,^  entered  into  by 
the  young  artist's  father  on  his  son's  behalf  with 
Martino  Spanzotto,  at  that  time  one  of  the  leaders 
of  the  Vercellese  School.  This  circumstance 
proves  that  a  friendship  existed  between  the  shoe- 
maker and  his  noble  fellow-townsman.  It  is 
therefore  neither  improbable  nor  impossible  that 
Giovanni  Antonio  assumed  the  name  of  the  family 
friend  from  motives  of  deference  to  his  earliest 
patron  and  artistic  sponsor. 

'  This  cannot  have  been  Francesco  Tizzone,  Lord  of  Desana,  who 
resigned  his  fief  to  his  brother  Ludovico  in  1483,  since  he  died  in  1485. 
Nor  can  it  be  Ludovico's  youngest  son  Francesco,  a  Franciscan  monlc, 
who  being  the  youngest  of  the  seven  sons  of  a  father  himself  only  born  in 
1456,  would  scarcely  have  been  as  old  as  the  young  Giovanni  Antonio 
Bazzi.  It  probably  was  another  Francesco,  a  cadet  cousin  of  the  house. 
Other  younger  branches  of  the  De'  Tizzoni  were  {a)  Counts  of  Rive, 
and  {b)  Counts  (afterwards  Marquises)  of  Crescentino.  The  elder 
branch  were  first  of  all  Lords,  then  Counts  of  Desana,  and  Imperial 
Vicars  with  the  right  of  coinage.  Desana  is  a  district  in  the  diocese 
of  Vercelli,  which  includes  Tricero,  Aziliano,  Lignana,  and  Ronsecco. 
This  family  also  owned  large  properties  in  the  States  of  Monferrato, 
Trino,  Crescentino,  and  Ponsano.  They  were  strong  Ghibellines,  and 
supporters  of  the  Gonzaga  family.  Count  Giovanni  Bartolommeo  Tizzone 
was  ambassador  in  15 16  from  the  Emperor  Maximilian  to  King 
Henry  VIII.  of  England.  (For  further  information  as  to  this  family 
see  Costanzo  Gazzera,  Meviorie  Storiche  dei  Tizzoni,  Conti  di  Desana  : 
Turin,  1842.) 

It  is  perhaps  worth  noting  that  Bertoletti  (A.  Bertoletti,  Ariisti 
Loinbardi  a  Roma  net  Secoli  XV.,  XVI.  &'  XVII.  Hoepli:  Milano, 
1881,  pp.  53,  54,  and  338-9)  quotes  records  from  the  Archives  in 
Rome  of  two  Francesco  Tizzoni  of  Caravaggio,  architects  and  cabinet- 
makers, residing  in  Rome  about  1547-56,  whose  shop  was  near  the  church 
of  S.  Ambrogio.  The  younger  of  these,  on  November  28th,  1548, 
erected  scaffolding  for  Daniele  da  Volterra  in  the  Sala  del  Re  of  Castel 
S.  Angelo. 

^  See  Appendix  No.  2. 


6  GIOVANNI    ANTONIO    BAZZI 

Apart  from  conjecture  and  whatever  inference 
may  be  drawn  from  these  incidents,  the  fact  re- 
mains, that  the  name  under  which  he  was  generally 
known  throughout  his  life  was  Bazzi.  Of  his 
nickname  we  shall  speak  later — at  present  let  us 
confine  our  endeavours  to  elucidating  the  remain- 
ing points  involved  in  our  first  sentence. 

Giovanni  Antonio  Bazzi's  birthplace  was  un- 
doubtedly Vercelli,  in  Piedmont,  as  Vasari  rightly 
states.  The  reasons  adduced  below  will,  we  have 
no  doubt,  set  this  point  beyond  the  pale  of  conten- 
tion. The  artist,  however,  having  come  to  Siena 
at  the  age  of  twenty-three  or  thereabouts,  having 
married  there,  having  made  that  town  his  home, 
having  done  most  of  his  best  work  there  and  in  the 
immediate  neighbourhood,  for  the  greater  honour 
and  glory  of  Siena,  and  lastly,  having  died  there, 
the  patriotic  people  of  that  city  wished  to  claim 
him  as  one  of  her  sons  by  birth  as  well  as  by 
adoption.  In  spite  of  the  denial  of  authors  of  such 
eminence  as  Tizio,^  Giovio,^  Armenini,^  Landi,^  and 

^  Sigismondo  Tizio,  Historiaruin  Senensium,  MS.,  Biblioteca  Comu- 
nale,  Siena,  vol.  vii.  p.  460.     ^^Johannis  Antonii  Vercellensis.'^ 

^  Paolo  Giovio,  in  his  short  Vita  o  Elogio  di  Raffaello  de  Urbino, 
which  is  to  be  found  in  his  Fragmentum  Triw7i  Dialogorum,  published 
by  Tiraboschi  (Storia  della  Letteratura  Italiana,  vol.  vii.  part  iv. 
p.  1723:  Modena,  1792,  in-4)  says :  *^  Sodoitias  Vercellensis  praepostero, 
instabilique  iudicio  usque  ad  insaniae  affedationem  Sefiarum  urbe  notis- 
siinus,  quum  itnpetuosum  aniitium  ad  artem  revocat  admiranda  perfecit 
et  adeo  concitata  manu,  ut  nihilo  secius,  quod  mirum  est,  neminem  eo 
prudentius,  et  tranquilliiis pinxisse  appareat" 

^  Giovanni  Battista  Armenini  da  Faenza,  Dei  Veri  Precetti  della 
Fittura,  lib.  i.  cap.  iii.     Ravenna :  Tebaldini,  1587. 

*  Alfonso  Landi,  Racconto  di  Fitture,  di  Statue  e  d^altre  Opere  Eccel- 
lenti,  che  si  ritrovano  nl  TempiJ  e  negli  altri  Luoghi  Fubblici  della  Cittd, 
di  Siena  con  i  Noini  Cognomi  e  Fatrie  degV  Artefici  d'  esse  per  quanto 
pero  s'e  potuto  trovare.    1655.    "^^^  MSS.    Biblioteca  Comunale,  Siena. 


VERGELLE  7 

finally  of  Padre  della  Valle,^  several  Sienese  writers 
of  lives  of  their  celebrated  citizens  have  insisted 
upon  arguing  that  Vergelle,  a  tiny  hamlet  in  the 
''Senese^'di  few  miles  from  Torrenieri,  was  his  actual 
birthplace.  Romagnoli  in  his  MS.^  even  goes  so 
far  as  to  identify  the  landscape  in  the  so-called 
Portrait  of  Sodoma  in  the  Uffizi,  Florence  (said 
to  have  been  painted  by  himself),  as  a  view  of 
the  village  of  Vergelle,  including  the  Casa  Savini, 
called  //  Pozzo,  in  which  house  he  states  that  our 
painter  was  born.^  Further  misapprehension,  too, 
has  been  created  by  a  footnote  in  the  Siena  edition 
of  Borghini's  II  Rtposo,^  which  avers  that  Giovann- 
antonio's  baptismal  certificate  exists  in  the 
Episcopal  Archives  of  the  city  of  Pienza.  Padre 
della  Valle,  in  his  Lett  ere  Sanesi,  and  Romagnoli 
in  his  MS.  History  above  mentioned,  spent  much 

^  Padre  Guglielmo  della  Valle,  Lettere  Sanesi:  Roma,  1736,  tomo  iii. 
p.  238  ^  seg. 

^  Ettore  Romagnoli,  Biographia  Cronologica  de  Bellartisti  Senesi  dal 
Secolo  XII.  a  tutto  il  XVIII.     MS.  Biblioteca  Comunale,  Siena,  vol.  v. 

PP- 519—746. 

^  By  the  courtesy  of  Sig.  Ing.  G.  Mori,  the  present  owner,  the  author 
was  enabled  to  visit  Vergelle  on  December  12th,  1898.  The  founda- 
tions of,  and  a  well  belonging  to  a  house,  traditionally  called  ^^11  Fozzo," 
are  certainly  still  to  be  seen  there. 

*  Raffaello  Borghini,  II Riposo,  vol.  iii.  p.  37.  Siena:  Pazzini,  1787. 
'■^  NelV  Archivio  Vescovile  della  Citta  di  Pienza  nello  stato  di  Siena,  in  un 
libro  dei  Battezzali  della  Cura  di  Vergelle,  esiste  la  Fede  del  Battesimo 
di  Giovannantonio  Soddoma  "  (sic).  It  was  in  this  edition  of  Borghini's 
work  that  the  note  first  appears,  from  whence  it  was  copied  in  the 
subsequent  editions.  The  various  editions  of  his  work  are  as  follows : — 
Firenze:  Marescotti,  1582,  1584;  P'irenze :  Moucke,  1730;  Firenze: 
Nestenus,  1738;  Siena:  Pazzini,  1787;  Milano,  1807;  Reggio : 
Fracadori,  1827. 

It  may  be  observed  that  Borghini  in  his  text  gives  our  artist  no 
patronymic  at  all,  simply  designating  him  as  Giovannantonio  da  Vergelle, 
villa  distante  da  Siena  15  miglia,  detto  il  Soddoma. 


8  GIOVANNI   ANTONIO    BAZZI 

time  and  patience  arguing  the  probability  or  other- 
wise of  this  statement ;  but  the  discoveries  at 
Vercelli  prove  the  utter  falsity  of  Borghini's  as- 
severations, and  establish  a  fact  that  should  have 
been  unmistakable.  The  evidence  afforded  by 
the  painter's  own  compositions,  in  which  the 
Lombard  influence  of  his  early  years  are,  as 
Vasari  points  out,  so  clearly  traceable,  should 
have  sufficed  without  the  corroboration  of  original 
documents. 

The  third  point  at  issue  has  still  to  be  dealt 
with — i.e.,  the  date  of  his  birth.  Padre  della  Valle, 
agreeing  with  the  opinion  of  Baldinucci^  before 
him,  argues  that  the  event  occurred  in  1479  ;  while 
Milanesi,  writing  in  1856,  would  at  first  have  placed 
it  as  far  back  as  1474,^  but  corrects  his  view  in  a 
note  to  Vasari's  Life  of  Bazzi?  Vasari  confuses 
us  still  further  by  stating  that  Bazzi  died  in  1554, 
aged  seventy-five,  whereas  we  know  from  a  letter^ 
from  Alessandro  Buoninsegni  to  his  brother  Ber- 
nardino, Sienese  Ambassador  to  the  Court  of 
Naples,  that  the  demise  actually  took  place  during 
the  night  of  February  14th- 15th,  1549.  The 
fruits  of  Padre  Bruzza's  researches  enable  us  to 
ascertain  the  real  date  with  a  greater  approach  to 
accuracy. 

In  the  first  place,  we  know  that  Giacomo  Bazzi, 

^  Filippo  Baldinucci,  Fiorentino,  Notizie  dei  Prqfessori  del  Disegno. 
Torino,  1770.     Book  vi.  p.  500,  note. 

^  Gaetano  Milanesi,  Documenti per  la  Storia  dell'  Arte  Senese.  Siena, 
1856.     Tom.  iii.  p.  182. 

^  Vasari,  Ojt>.  cit.,  p.  399,  note  4. 

*  Archivio  di  Stato  di  Siena.  Lettere  di  Ser  Alessaftdro  Buoninsegni 
a  Bernardino  suo  fratello  (now  filed  among  Lettere  agli  Ambasciatori  di 
particolari persone  1547-8.     Files  2447-9). 


GIACOMO   DE*   BAZZI  g 

the  father  of  our  hero,  was  the  son  of  one  Antonio 
de  Bazis/  whose  death  must  have  occurred  prior 
to  the  year  1494.  Whether,  having  completed  his 
apprenticeship  in  Biandrate,Giacomocame  straight 
from  thence  to  Vercelli  or  not,  we  can  but  guess. 
In  any  case  we  know  that  on  January  26th,  1475, 
by  agreement  with  one  Lorenzo  Furione,  he  leased 
a  shop  with  dwelling-rooms  attached,  in  the  parish 
of  S.  Michele,  at  Vercelli.^  We  gather  furthermore 
— although  the  marriage  contract  is  no  longer  to  be 
found, — that  he  married  in  1476  Angelina  da  Per- 
gamo  (or  Bergamo),  and  had  by  her  three  children, 
Giovanni  Antonio,  Niccold,  and  Amedea.  Herr 
Jansen,  in  his  picturesque  study  of  the  life  of  our 
artist,^  argues — but  without  giving  valid  grounds 
for  his  opinion — that  Giovanni  Antonio  was  the 
younger  of  the  two  sons.  Dr.  Frizzoni,*  with  more 
reason,  concludes  that,  as  in  his  father's  Will,^ 
dated  August  13th,  1497,  Giovanni  Antonio  is 
mentioned  y^r^/,  he  probably  was  the  eldest  child. 
This  argument  is  likewise  supported  by  two  Deeds 
of  Transfer  and  Sale,  dated  January  31st,  1502, 
and  August   3rd,   1503,   respectively.     From  the 

^  Archivio  Civico  di  Vercelli.  Rogito  di  Enrico  de  Balbis,  Not.  9, 
fol.  61,  and  Prot.  3,  fol.  2.  Bruzza,  Op.  cit.,  p.  37.  See  Appendix 
No.  I,  Pedigree  of  the  Family  of  Bazzi. 

2  Archivio  detto,  26  Gennaio,  1475.  Rogito  di  Guidetio  de  Pelli- 
pariis,  Not.  4,  fol.  334. 

'  Albert  Jansen,  Leben  und  Werke  des  Malers  Giovanni  Antonio  Bazzi 
von  Vercelli  genannt  Sodoma.  Als  Beitrag  zur  Geschichte  der  Italien- 
ischen  Renaissance,  zum  ersten  Male  beschrieben.  Stuttgart:  Ebner  & 
Seubert,  1870. 

*  Gustavo  Frizzoni,  U  Arte  Italiana  del  Rinascimento.  Giovanni 
Antonio  de^  Bazzi  detto  il  Sodoma.     Milano  :  Fratelli  Dumolard,  1891. 

*  Archivio  detto,  13  Agosto,  1497.  Rogito  di  Enrico  de  Balbis, 
Prot.  4,  fol.  231.     See  Appendix  No.  3. 


lo  GIOVANNI   ANTONIO    BAZZI 

former^  we  learn  that,  at  the  time  of  the  execution 
of  the  instrument,  all  three  children  were  under 
twenty-five  years  of  age — the  period  fixed  by  their 
father's  Will  for  their  minority — their  mother  being 
therein  described  as  tutrix  and  curatrix  of  their 
persons  and  estates.  The  latter,^  however,  which 
deals  with  Niccol6  alone,  tells  us  that  he  had 
attained  his  majority  at  the  date  of  its  execution. 
We  may  not  unreasonably  presume  from  this,  that 
Giovanni  Antonio  had  reached  the  age  of  twenty- 
five  some  time  between  these  two  dates,  and  can 
therefore  fix  his  birth  as  having  occurred  in  1477.^ 

Having  thus  explained  in  detail  the  issues  raised 
by  our  first  sentence,  and  before  proceeding  with 
the  life  of  the  artist,  let  us  deal  as  briefly  as  may 
be  with  the  facts  that  can  be  ascertained  concerning 
his  evil-sounding  sobriquet. 

It  would  be  idle  to  deny  the  immense  debt  of 
gratitude  that  the  modern  world  owes  to  the  labours 
of  Giorgio  Vasari, — painter,  historian  and  critic. 
His  pages  teem  with  information  of  the  utmost 
value.     But  it  should  be — in  these  days — super- 

^  Archivio  detto,  31  Gennaio,  1502.  Rogito  di  Enrico  de  Balbis, 
B.  4,  Not.  3,  fol.  146-8,  where  Angelina  Bazzi  is  described  as:  ^^ tutrix 
et  curatrix  ac  tutorio  et  curatorio  nomine  Nichole,  Joanne  Antoni  et 
Amedee,  filiorum  ipsius  Angeline  et  dicti  quondam  magri  Jacobi^^  ecc.  See 
post,  p.  54,  note  I. 

2  Archivio  detto,  3  Agosto,  1503.  Rogito  di  Guglielmo  de  Lonate, 
L.  6,  Not.  29,  fol.  III.  "  1503.  3  Augustiin  vicinia Beate Marie Majoris 
et  in  domo  habitat,  infrarscr.  venditor  presentibus  .  .  .  ibique  Nicola  fq. 
Magri  Jacobi  de  baziis  et  Caterina  ejus  uxor  cum  consensu  dicti  Nicole  ejus 
mariti  presentis  .  .  .  faciunt  venditionem,  etc."  Cf.  Colonello  Cesare 
Faccio.  Giovanni  Antonio  Bazzi  (il  Sodoma).  Pittore  Vercellese  del 
secolo  XVI.     Gallardi  e  Ugo.     Vercelli,  1902,  p.  221. 

^  Niccolb  may  then  perhaps  have  been  a  year  younger — i.e.,  born  in 
1478. 


VASARI'S   METHODS  ii 

fluous  to  point  out  how  completely  the  charm  of 
these  volumes  has  blinded  many  of  his  readers  to 
his  obvious  errors  and  wilful  misrepresentations  of 
fact.  The  list  of  statements  recorded  by  him  re- 
garding the  private  lives  of  artists,  that  one  by 
one  have  been  disproved  absolutely,  is  a  very  long 
one,  and  his  gratuitous  insinuations  are  even  more 
profuse.  If  a  painter  or  sculptor  happens  to  be  a 
friend  of  the  author,  or  comes  up  to  his  artistic 
standard,  at  once  everything  unpleasant  in  his  life 
and  character  is  nicely  slurred  over.  But  woe 
betide  the  unlucky  wight  who  may  be  set  down 
in  Messer  Giorgio's  bad  books !  For  centuries, 
nevertheless,  the  quaint  scraps  of  gossip, — agreeable 
or  ill-natured  as  they  may  chance  to  be, — have 
caught  the  fancy  and  embedded  themselves  in 
the  memory  of  the  dilettante  and  the  sentimental 
journalist,  instead  of  the  more  serious  and  im- 
portant portions  of  an  artist's  history  :  the  names, 
provenance,  and  so  forth,  of  his  work.  Many  a 
craftsman's  fame  has  thus  sunk  under  the  waves 
of  obloquy.  Seduced  by  the  glamour  of  Vasari's 
picturesque  style,  few  have  taken  the  trouble  to 
sift  dubious  innuendoes,  or  to  trace  the  sources  of 
information  whence  his  facts  were  drawn.  State- 
ments in  his  pages  too  often  gain  their  force  from 
his  mode  of  expression,  or  from  their  place — often 
totally  unwarranted  by  actual  fact — in  the  sequence 
of  his  narrative.  Phrases,  capable  of  double 
interpretation  taken  by  themselves,  are  thrust  in 
without  explanation  or  comment  beside  other 
sets  of  definite  and  undoubted  incidents ;  thereby 
leading  the  reader  to  most  erroneous  conclusions. 


12  GIOVANNI    ANTONIO    BAZZI 

There  is  no  question  but  that  the  evil  memory 
overshadowing  Bazzi's  life  and  name  is  mainly 
due  to  the  animus  shown  towards  him  by  Vasari : 
so  cleverly  masked,  so  deftly  suggested,  as  to  leave 
an  impression  far  more  damaging  than  the  most 
virulent  abuse.  Few  except  the  historians  and 
art  critics  of  our  day  have  probably  ever  heard  of 
the  other  really  more  weighty  accusations  against 
him,  of  which  we  shall  have  occasion  to  speak  later 
on.  We  would  desire,  however,  to  lay  some  stress 
here  upon  one  or  two  circumstances  which,  although 
they  turn  the  scale  but  little  in  favour  of  this 
particular  artist,  yet  tell  against  an  unquestioning 
belief  in  the  veracity  of  his  traducer's  insinuations. 
To  no  student  of  Renaissance  History  can  it  be 
a  matter  of  surprise  to  find  himself  brought  con- 
stantly face  to  face  with  prominent  characters  of 
extremely  depraved  temperament.  Immorality  in 
its  most  revolting  forms  not  merely  existed,  but 
W2is  far  from  uncommon  in  every  rank  of  life,  and 
conspicuously  so  amongst  the  most  distinguished 
figures  of  the  period.  Although  both  Ecclesiastical 
and  Civil  Law  promulgated  severest  penalties 
against  offenders,  their  terrors  were  unheeded.  Not 
only  craftsmen,  literary  or  artistic,  but  Popes  and 
Princes,  great  soldiers  and  eminent  statesmen,  were 
guilty  of  the  most  shameless  actions  whenever  lust 
or  passion  held  unbridled  sway.  The  most  notice- 
able point,  however,  is  not  that  such  grave  moral 
backslidings  occurred,  but  that  the  attitude  of  mind, 
of  so  many  of  the  most  pious  and  law-abiding,  was 
in  practice  so  mildly  and  leniently  disposed  towards 
them.    Ladies  of  the  highest  rank  and  most  stainless 


THEIR    MISCHIEVOUS    RESULTS     13 

reputation  appear  to  have  remained  quite  unmoved, 
though  brought  into  close  contact  in  almost  every 
relation  of  life  with  turpitude  such  as  at  the  present 
day  is  scarcely  even  hinted  at.  Contemporary 
chronicles  abound  with  gossip  of  the  most  scan- 
dalous kind,  and  autobiographers  openly  boast  of 
their  sins,  without  any  idea,  apparently,  that  the 
reader  would  show  more  than  ordinary  interest ; 
certainly  without  any  expectation  of  administering 
a  shock  provoking  disapproval.  Now,  Messer 
Giorgio  was  a  true  representative  of  his  time,  and 
we  cannot  suppose  him  to  have  been  really  more 
squeamish  than  his  contemporaries.  Yet  his  Life 
of  Sodoma  is  written  as  though  he  had  the  gift  of 
prophecy  and  could  have  foreseen  the  verdict  of 
posterity  :  the  nicer  judgment  of  a  later  epoch  ;  or 
even  the  mental  attitude  of  that  very  numerous 
class  whose  intellect  seems  powerless  to  distinguish 
truth  from  fiction  in  the  vagaries  of  the  artistic 
temperament, — a  class  lacking  in  what  we  would 
call  the  sense  of  historical  perspective;  to  whom 
''Roma  locuta  est,  causa  finita  est''  in  respect  of 
Vasari's  authority  is  an  all-sufficient  reason  for 
abhorrence. 

It  is  doubtful  whether  in  his  own  day  this 
species  of  condemnation  could  have  had  the  strong 
penal  or  degrading  force  that  it  would  bear  at  the 
present  time ;  and  in  judging  our  artist  as  an 
individual,  we  should  in  common  fairness  start 
with  our  minds  free  from  any  bias  formed  by 
our  Vasarian  studies.  We  can,  indeed,  sympathize 
with  Messer  Giorgio  on  artistic  grounds.  To  the 
industrious  student,  brought  up  in  almost  slavish 


14  GIOVANNI    ANTONIO    BAZZI 

reverence  for  the  correctness  and  formalism  of  the 
rules  and  regulations  of  classic  Art,  dear  to  the  soul 
of  Michelangelo's  immediate  followers,  the  wild, 
careless,  erratic  genius  of  Bazzi, — the  inequalities  of 
his  work,  which  are  the  despair  even  of  his  warmest 
admirers, — must  have  been  a  standing  cause  of 
vexation  and  anger.  Nevertheless  no  reasonable 
indignation  can  justify  the  cruelty  of  the  attack 
outside  the  realm  of  Art.  We  must,  therefore, 
look  round,  and  endeavour  to  discover  a  just  cause  : 
a  cause  not  far  to  seek  if  we  trace  to  their  sources 
the  facts  and  information  on  which  our  gossip 
based  his  Memoir.  It  should  be  noticed  that  this 
particular  ''Life''  was  not  included  in  the  first 
edition  of  Lives  of  the  Painters  (1550),  but  was 
reserved  for  publication  until  1568,  nineteen  years 
after  the  artisfs  death}  Both  Bazzi's  children, 
and  presumably  his  wife  also,  were  then  dead. 
His  favourite  pupil  and  son-in-law  had  married 
again,  and  was  living  in  Lucca,^  a  martyr  to  the 
gout,  of  which  he  died  in  June  1570.^  Of  his 
granddaughters :  one,  Parsenia,  was  the  wife  of 
Scipione  Rinaldi,  and  the  other,  Beatrice,  had 
become  a  nun.  Moreover,  Bazzi  had  left  behind 
him  no  school  of  devoted  pupils ;  so  that  it  was 
unlikely  that  any  one  would  arise  to  confute  false 
statements  and  scandalous  suggestions. 

The  sources  of  Vasari's  information  were  un- 
questionably tainted,    inasmuch   as   they  sprang 

^  We  have  observed  above  (p.  8)  that,  according  to  Vasari,  Bazzi 
lived  until  1554 ;  a  statement  which  shows  plainly  how  little  trouble  the 
biographer  must  have  taken  to  verify  his  facts. 

2  Vasari,  Op.  cit.,  p.  399,  "  si  sta  oggi  in  Lucca,"  etc. 

'  Vasari,  Op.  cit.,  Commentary,  p.  415. 


THE  SOURCES  OF  HIS  INFORMATION  i5 

from  Domenico  del  Pace  (Beccafumi),  the  whilom 
pupil,  afterwards  the  rival  and  bitter  enemy  of  Bazzi ; 
and  from  Giuliano  Morelli/  the  goldsmith,  whose 
granddaughter,  Batista,  was,  by  her  marriages,  the 
mother  of  two  younger  competitors  for  public 
favour  :  Francesco  Vanni  and  Ventura  Salimbeni. 
Nothing  can  be  more  strongly  marked  than  the 
manner  in  which  Vasari  contrasts  the  work  of 
Del  Pace  with  that  of  Bazzi  to  the  detriment  of 
the  latter.  No  doubt  the  plodding  draughtsman, 
who  worked  along  the  correct  lines  so  dear  to  the 
heart  of  the  Aretine,  must  have  appealed  to  his 
artistic  perceptions  with  greater  power  than  the 
erratic  genius,  who  declined  to  be  bound  by  any 
rule,  and  defied  all  recognised  canons.  Once  we 
grasp  this  fact,  we  can  better  understand  Vasari's 
standpoint,  and  reckon  the  bitterness  of  his  con- 
clusions at  their  just  value.  Several  of  his  points 
of  view  will  come  before  us  in  the  course  of  this 
essay ;  but  two  at  least  must  be  especially  noted 
here  with  reference  to  the  name  Sodoma. 

This  name  he  professes  to  explain,  in  the  most 

1  Giuliano  di  Niccolo  Morelli,  who  bore  the  nickname  ofBarba,  seems 
to  have  been  the  friend  of  several  eminent  artists,  and  both  connoisseur 
and  craftsman  himself.  He  is  mentioned  by  Vasari  (vol.  i.  p.  644)  as 
possessing  the  MS.  of  Cennino  Cennini's  Trattato  della  Pittura,  and 
(vol.  iv.  p.  608,  vol.  V.  p.  654)  as  extremely  friendly  with  Baldassare 
Peruzzi  and  Beccafumi.  He  married  Savina  di  Francesco,  by  whom  he 
had  a  daughter,  Maddalena,  who  in  her  turn  married  Vittorio  Focari, 
becoming  by  him  the  mother  of  the  Batista  mentioned  in  the  text.  In 
1537  he  made  certain  silver  vases  for  the  Consistoro,  and  a  year  after  had  a 
lawsuit  with  that  body  over  a  metal  figure  of  S.  Paul.  On  December  29th, 
1547,  he  valued  {Mil.  Doc.  cit.,  vol.  iii.  p.  175)  some  figures  in  stucco, 
made  by  Riccio  for  the  Compagnia  di  S.  Giovanni  della  Morte.  He 
made  his  Will  in  1570,  in  which  year  he  seems  to  have  died.  He  is 
referred  to  in  the  letter  from  Niccolo  Trappolini  to  Alessandro  Corvini 
quoted  in  Appendix  No.  32. 


i6  GIOVANNI    ANTONIO    BAZZI 

damaging  sentence  in  his  entire  narrative,  occurring 
as  it  does  almost  at  the  outset.  Oddly  enough, 
the  phrase  appears  in  close  sequence  to  some  of 
the  highest  praise  that  the  spiteful  biographer 
could  have  passed  upon  his  subject.  A  statement 
intended,  be  it  observed,  as  a  depreciation,  but 
which  gives  us  thus  early  the  keynote  to  Bazzi's 
genuine  artistic  sense — viz.,  that  he  neglected  all 
that,  according  to  Vasari,  he  should  have  studied, 
in  order  to  make  copies  and  sketches  frorn  the 
work  of  Giacomo  delta  Querela}  He  continues  : 
*'  Era  oltre  cio  uomo  allegro,  licenzioso,  e  teneva 
altrui  in  piacere  e  spasso  con  vivere  poco  onesta- 
mente  :  nel  che  fare,  pero  che  aveva  sempre  attorno 
fanciulli  e  giovani  sbarbati,  i  quali  amava  fuor  di 
modo,  si  acquisto  il  sopranome  di  Soddoma ;  del 
quale  non  che  si  prendesse  noia  o  sdegno,  se  ne 
gloriava,  facendo  sopra  esso  stanze  e  capitoli,  e 
cantandogli  in  sul  liuto  assai  commodamente."^ 
To  any  one  who  has  studied  the  life  of  so  great 
an  artist  as  Leonardo  da  Vinci,  or  the  Sonnets  of 
Michelangelo,  which  so  plainly  speak  for  them- 
selves, a  sentence  such  as  this  loses  practically  all 
value.  No  one  in  Art-History  was  perhaps  so 
prone  to  seek  the  companionship,  both  for  pupils 
and  models,  of  beardless  youths,  as  the  amiable 
and  lovable  Leonardo ;  whilst  Michelangelo  with 
his  own  lips  suggests  views  and  opinions  to  which 
we  can  find  no  parallel  in  any  authentic  record  of 

^  Vasari,  Op.  cit.,  vol.  vi.  p.  380.  "Fu  solamente  in  disegnare  le 
cose  di  Jacopo  dalla  Fonte,  che  erano  in  pregio,  e  poco  altro." 

2  Vasari,  Op.  cit.,  vol.  vi.,  p.  380.  An  equally  bitter  attack,  though 
differently  worded,  occurs  in  the  Life  of  Beccafumi,  where  Vasari  {Op.  cit.^ 
vol.  V.  p.  635)  contrasts  the  characters  of  the  two  men. 


THE    "PALIO"   OF   S.    BARNABAS      17 

Bazzi's  life.  Yet  theywere  both  fortunate  enough  to 
escape  the  rancour  of  Vasari,  that  self-elected  censor 
of  morals.  We  may  notice  that  the  biographer 
places  these  statements  at  the  very  commencement 
of  his  Memoir,  as  though  the  artist  had  acquired 
this  opprobrious  name  almost  immediately  on  his 
arrival  in  Siena ;  prior  even  to  his  visit  to  Monte 
Oliveto.  Whereas  we  have  no  documentary  or 
traditional  evidence  to  show  that  he  bore  any  nick- 
name, but  that  of  il  Mattaccio  (Matazd)  given  him 
by  the  Olivetan  friars,  earlier  than  15 12-13.  We 
can  thus  once  more  appreciate  how  much  reliance 
should  be  placed  upon  so  inaccurate  a  form  of 
special  pleading. 

The  other  circumstance  is  iht  Palio  in  Florence, 
a  story  which  we  had  better  at  once  briefly  relate. 
The  year  1515^  found  Bazzi  in  Florence,  at  work  for 
the  Prior  of  the  Convent  of  Monte  Oliveto,  outside 
Porta  S.  Frediano,  a  member  of  the  Brandolini 
family.  At  that  time  certain  horse-races  took  place 
to  celebrate  the  festival  of  S.  Barnabas.  Giovanni 
Antonio,  always  fond  of  animals,  had  a  fine  Barbary 
horse,  and  entered  him  for  the  contest.  This  horse 
won  the  race,  whereupon  the  judges  asked  for  the 
name  of  the  owner  in  order  to  announce  it  publicly. 
Bazzi  in  reply  exclaimed  ''Sodoma,  Sodoina''^  Upon 

^  Vasari,  Op.  cii.,  vol.  vi.  p.  389.  For  this  purpose  we  have  adopted 
here  the  usually  recognised  date.  We  shall  have  further  observations 
to  make  later  on.     See  post,  p.  122  ^.  seg. 

2  That  the  exclamation  may  also  have  implied  a  covert  sneer  at 
the  acknowledged  laxity  of  morals  then  prevailing  in  Florence,  is  just 
possible.  The  Sienese  were  ever  jealous  of  the  Florentines ;  and  to 
mark  the  victory  by  casting  obloquy  in  their  teeth  may  have  been 
a  not  inconceivable  contingency.  Sensitiveness  on  this  score,  and  a 
suspicion  that  they  were  being  mocked,  might  well  have  provoked  the 


i8  GIOVANNI    ANTONIO    BAZZI 

this  "  certain  worthy  elders  "  (says  Vasari)  were 
much  shocked  and  offended,  and  appear  to  have 
incited  the  mob  to  stone  the  unfortunate  foreigner. 
Here  we  must  observe  that  the  name  Sodoma  first 
occurs  in  a  list  of  owners  of  racehorses  that  ran  at 
a  Palio  in  Siena,  on  the  occasion  of  the  festival  of 
the  Blessed  Ambrogio  Sansedoni  in  March  151 2 
(Old  Style).  The  artist  appears  there  in  excellent 
company,  with  several  members  of  the  patriciate 
of  Siena  and  other  cities.  In  the  following  year 
we  find  him  again  under  this  same  appellation  in 
similar  lists  at  several  more  Sienese  Palii,  com- 
peting with  such  august  personages  as  the  Marquess 
of  Mantua  and  Cardinal  Petrucci.  Furthermore, 
a  document  still  extant  in  the  Medicean  Archives, 
dated  June  i8th,  1515,^  shows  that  he  was  specially 
recommended  by  his  lifelong  friend,  Jacomo  V. 
d'  Appiano,  Prince  of  Piombino,  to  Lorenzo  de' 
Medici  (the  Younger)  for  assistance  in  entering  his 
horses  for  the  races  in  Florence.  It  is  not  impos- 
sible that  this  may  have  been  the  occasion  to  which 
Vasari  alludes.     But  if,  as  seems  most  probable, 

anger  of  the  unthinking  rabble,  thus  producing  the  results  related 
by  Vasari. 

Any  one  who  has  witnessed  the  hostility  excited  against  the  winner 
by  his  rivals  and  their  supporters  at  a  Sienese  Palio  of  to-day  will  quite 
understand  this ;  and  should  he  add  Florentine  and  Sienese  mutual 
jealousy,  fury  against  the  successful  foreigner  can  be  plainly  accounted  for. 

An  Italian  friend  has  suggested  that  the  racing  name  itself  was 
originally  a  dipt  sentence,  " So  doma"  "  I  am  the  trainer "  (of  this 
horse) — a  sentence  to  which  jest  or  malevolence  afterwards  attached  a 
sinister  meaning.  Though  not  inherently  improbable,  the  suggestion  is 
put  forward  for  what  it  is  worth. 

^  Archivio  di  Stato  di  Firenze.  Carteggio  Mediceo  privato. 
Filza  No.  114,  fol.  191.  Lettera  del  Duca  di  Piombino  a  Lorenzo  de^ 
Medici.     15 15,  18  Giugno. 


BAZZrS  WIFE  19 

SodomawdiS  his  usual  racing  appellation,  it  appears 
hardly  likely  that  the  public  authorities  and  persons 
of  rank  and  eminence  present  at  the  race  would 
have  remained  in  ignorance  of  the  designation. 
If,  again,  the  name  were  intended  to  be  either 
opprobrious,  or,  as  Milanesi  erroneously  suggests,^ 
coined  for  the  occasion,  with  disastrous  results 
for  the  unlucky  inventor,  how  can  we  account  for 
the  fact  that  on  June  22nd  of  this  same  year  (the 
Feast  of  S.  Barnabas  being  the  i  ith  of  that  month) 
we  find  the  first  official  notices  of  work  allotted  to 
him  in  Siena  under  this  very  name  ?^ 

Again,  contrary  to  Vasari's  statement,  no  docu- 
mentary evidence  exists  to  prove  that  Bazzi's  wife 
ever  actually  left  him.  That  she  maintained  a 
separate  establishment  would  also  seem  most 
improbable,  since  notices  in  the  Registers  of  the 
Contrada  of  S.  Donato  a  Montanini  at  Siena — the 
quarter  where  he  resided  between  the  years  of 
1 53 1  and  1 54 1 — show  that  they  had  then^  at  any 
rate  a  joint  household.  Even  after  his  death  his 
widow  is  not  ashamed  to  be  set  down  as  *'  M""- 
Beatrice  di  Luc  ha  Galli  dona  gia  del  Sodoma'^  in 
the  same  records,  and  is  described  in  the  Inventory 
made  subsequent  to  his  decease  as  ''  relict  a  domini 
Johannis  Antonii  Sodone  "  ;^  whilst  her  mother, 

^  Vasari,  Op.  cit.,  p.  389,  note  2. 

2  Archivio  dell'  Opera  del  Duomo  di  Siena.  Libro  di  Memorie 
segnato  E.  9,  a.  c.  28  tergo.  1515,  22  Giugno.  Archivio  detto. 
Libro  Verde,  Carte  287.     1515,  u  Ottobre. 

'  Archivio  di  Stato  di  Siena.     Libro  della  Lira,  No.  125,  fol.  64. 

^  Archivio  detto.  Libro  detto  (K.)  1549,  fol.  37.  S.  Donato  in 
Montanini  (Camollia). 

^  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Luca  di  Mariano  Salvini 
d'Asciano.    1548-49,  14  Febbraio,  No.  2386.     Rep.  A.,  Busta  941. 


20         GIOVANNI   ANTONIO   BAZZl 

Caterinadei  Galli,  in  her  Will,  describes  her  daughter 
as  ''Beatrice  (eius  dilectafilia)  moglie  di  Giovanni 
Antonio  . . .  alias  Sobdoma  pittoreT'^  Surely  this 
is  strong  evidence  against  the  assumption  that  the 
name  arose  out  of  practices  which  certainly  would 
not  conduce  to  harmony  with  a  wife  and  a  mother- 
in-law.  Bazzi's  long  absence  in  the  Emilia  and 
Lombardy  (1519-27),  and  his  protracted  visits  to 
the  Prince  of  Piombino,  though  they  may  have 
given  colour  to  the  gossip  repeated  to  Vasari,  hardly 
suffice  to  reaffirm  the  truth  of  so  very  daring  an 
assertion  as  that  made  by  the  prejudiced  bio- 
grapher. The  suggestions  concerning  the  alleged 
neglect  of  her  husband  in  sickness,  etc.,  are,  as 
we  shall  see,  equally  flimsy  if  approached  with  an 
impartial  mind. 

Indeed,  it  is  difficult  to  see  how  Vasari's  state- 
ments and  insinuations  in  regard  to  Bazzi's  private 
life  can  be  reconciled  with  the  undoubted  fact  that 
a  Pope^and  an  Emperor, — neither  of  them,  it  is  true, 
especially  saintly,  yet  both  at  least  above  all  sus- 
picion of  publicly  rewardinga  notorious  evil-liver, — 
should  have  given  him,  the  one  the  title  of  Cavalier 
of  Christ,  and  the  other  the  rank  of  a  Count  of  the 
Holy  Roman  Empire^  with — it  is  well  to  note  with 

^  Archivio  detto.  Filza  di  Ser  Ventura  di  Cionne  Ciogni  da  Lucignano 
in  Val di  Chiana.     Dal  1523-27,  No.  48,  Reparto  A,  Busta  604. 

^  A  Florentine  Pope  too — a  Medici — and  but  three  years  after  the  race 
at  Florence,  where  t/ie  sober-minded  citizens  were  so  scandalised  at  the  sound 
of  his  name. 

^  Here,  again,  we  must  for  the  moment  be  content  to  accept 
traditional  statements ;  since  this  latter  title  rests  on  the  slenderest  of 
evidence.  But  even  supposing  that  the  gift  of  the  title  is  but  a  tradition, 
the  fact  that  such  a  tradition  exists  proves  the  high  honour  in  which  Bazzi 
was  known  to  have  been  held.     See  post,  p.  211  e  seg. 


PROBABLE   ORIGIN   OF  SOBRIQUET   21 

emphasis — this  ill-sounding  name  attached.  One 
may  well  argue  that  Vasari's  suggestion  of  infamy- 
defeats  itself:  for  if  he,  on  the  one  hand,  seeks 
to  defame  Bazzi's  character  in  this  particular 
direction,  how  can  he,  on  the  other,  account  for 
the  honours  conferred  on  the  man  by  Pope  and 
Emperor,  ennobling  the  very  name  he  asperses  ? 
No  similar  case  is  extant  of  a  title  attached  to 
a  nickname ;  and  it  seems  impossible  to  conceive 
that,  even  in  a  state  of  society  such  as  that  of 
the  Italian  Renaissance,  a  similar  combination 
could  have  been  devised  as  a  piece  of  mere 
bravado.  It  may  be  noted,  too,  that  on  the  many 
subsequent  occasions  whereon  Bazzi  is  described, 
or  describes  himself  by  this  surname,  it  is  spelt 
indifferently  in  a  variety  of  ways.^  Nay  !  this 
pseudonym  may  possibly  yet  be  discovered  to  be, 
after  all,  only  a  place-name,  taken  by  the  artist 
himself  for  some  reason  yet  unknown  to  us  ;  or,  as 
has  been  suggested,  and  is  more  probable,  a  nom  de 
guerre  given  him  without  special  evil  meaning  by 
some  club  or  society  of  which  he  was  a  member. 
This  we  know  was  a  very  general  custom  among 
the  Sienese  of  that  period,^  and  is  far  from  un- 
common even  to  this  day. 

^  Thus  Sodofna,  Soddoma,  Sodona,  Soddona,  Sodone,  Sogdoma,  Sogdona, 
Sobdoma  may  be  cited  as  a  few  of  these.  The  student  need  only  glance 
at  the  various  documents  printed  in  the  Appendix  to  be  aware  of  this. 

2  Stordtto,  "  stunned,  stupefied  "  ;  Scacciato,  "  expelled,  banished  "  ; 
Sodo,  "firm,  compact,"  "strong,"  "hard,  solid,  thick'';  Arsicdo, 
"scorched,"  "thirsty";  Deserto,  "abandoned,  forsaken,"  are  a  few  of 
these.  Cf.  also,  on  this  point,  Mgr.  Giulio  Mancini,  "  Alcune 
Considerazwni,"  etc.  {Benvoglienti  Miscellanea),  pp.  252-6.  Biblioteca 
Comunale  di  Siena.  Cod.  231  (Libreria  Capponi),  p.  37 ;  also  L.  V, 
12.  P-  73- 


22  GIOVANNI    ANTONIO    BAZZI 

The  only  remaining  arguments  brought  forward 
to  support  the  opprobrious  meaning  of  the  nickname 
are  found  in  the  burlesque  catalogue  of  Bazzi's 
possessions,  alleged  to  have  been  drawn  up  by 
himself  in  1531^  and  the  epigrammaticlines  written 
by  Eurialo  Morani  d' Ascoli,  published  in  Siena  in 
1516.^  Both  squibs  appear  to  have  been  unknown 
to  Vasari,  and  the  authenticity  of  the  first  is  open  to 
grave  suspicion,  owing  to  the  fact  that  no  first- 
hand proof  of  its  existence  is  to  be  found  prior  to 
the  publication  of  Padre  Ugurgieri's  Pompe  Sanesi 
at  Pistoia  in  1649,^  one  hundred  years  after  Bazzt  s 
death.  And  although,  some  six  years  later  (1655), 
Alfonso  Landi  quotes  this  *'  Denunzia "  in  his 
Racconti  dei  Pitttire,  etc.,^  he  admits  that  he  had 
not  seen  the  original,  but  had  taken  his  copies^ 
"from  the  collections  of  those  who  in  our 
times  have  had  knowledge  of  ancient  writings."^ 
In  any  case  the  document,  if  genuine,  is  so 
obviously    only   a  coarse   play   upon  the  name, 

^  Denunzia  di  Giovanni  Antonio  Bazzi  detto  il  Sodoma  Pittore.  Nuovi 
Documenti,  per  la  Storia  delP  Arte  Senese.  S.  Borghesi  and  L.  Banchi. 
Siena:  Torrini,  1898,  p.  456.     No.  228.     See  Appendix  No,  4. 

^  Euriali  Morani  Asculani,  Epigrammatu  Libri  duo  Cu  Gra  7/Privi. 
(Dedicated  to  Francesco  Sozini).     Impresso  in  Siena  per  Semione  de 
Nicolo  Cartolaio  anno  Domini  MDXVI.  Die  IX.  de  Feraio  (1516-17). 
See  Appendix  No.  5, 

'  Ugurgieri,  Op.  cit.,  torn.  ii.  p.  356. 

^  Two  copies  of  Landi's  work  exist  in  the  Communal  Library,  Siena ; 
but  a  careful  comparison  between  them  will  show  that  even  his  versions 
of  this  document  vary  considerably. 

*  "  Questa  Denunzia  ha  di  molte  Lacune  ;  to  fho  tolta  da  raccolti 
di  coloro,  che  a  tempi  nostri  hanno  {h)avuta  intelligenza  de  caratteri 
antichi."     Cf.  also  Delia  Valle,  Op.  cit.,  torn.  iii.  pp.  328-30. 

^  The  compilers  of  the  Nuovi  Documenti,  in  printing  this  document, 
admit  their  inability  to  find  the  original  draft.  The  arguments  as  to  its 
genuineness  will  be  found  in  the  notes  to  the  version  quoted  in  Appendi^ 
No.  4.  .... 


SUMMARY  OF   BAZZI'S  CHARACTER    23 

that  it  carries  little  weight,  as  evidence  in  support 
of  the  suggested  reason  for  its  composition.  The 
other  is  a  similar  jest,  the  point  of  which  turns 
upon  the  existence  of  a  nickname — coarse  enough  in 
all  conscience — but  not  on  that  account  surprising 
in  a  city  where  no  man,  however  distinguished  his 
position,  could  altogether  escape  the  arrows  of 
public  wit.^  Neither  of  these  documents  can  in 
justice  and  fairness  be  taken  2,s  proof  of  conduct . 

The  reader  nevertheless  should  clearly  under- 
stand that  no  complete  whitewashing  of  the 
character  of  Gio.  Antonio  Bazzi  is  here  attempted. 
As  we  shall  have  good  reason  to  note  in  the  course 
of  this  narrative,  his  was  a  curious,  eccentric 
temperament — a  strange  mixture  of  good  and  evil. 
But  he  was  not,  as  Vasari  would  have  us  believe, 
that  awful  example  of  exceptional  depravity  where- 
with to  point  a  moral  or  adorn  a  tale.  Such  a  hold, 
however,  has  this  picture  had  upon  the  public  mind 
for  the  last  two  centuries,  that  lovers  of  art  have 
hardly  dared  avow  their  admiration  for  the  works  of 
so  shameless  an  offender.  It  was  not  until  Morelli 
and  his  followers  commenced  to  point  out  the 
merits  of  many  a  picture  and  drawing  unquestion- 
ably his  work, — attributed,  seemingly  to  save  its 
reputation,  to  greater  or  lesser  artists, — that  they 
were  restored  to  their  proper  author.     A  recent 

^  So  celebrated  a  man  as  Cecco  Angiolieri,  though  twice  Prior ,  and  the 
holder  of  some  of  the  highest  offices  in  the  Sienese  Republic,  Treasurer 
to  the  Pope  and  a  celebrated  poet,  stands  pilloried  to  all  time  in  an 
inscription  over  his  residence  in  Via  del  Re  in  Siena  by  a  nickname 
quite  as  coarse  and  even  more  significant.  See  A.  D'Ancona,  Studij  di 
Critica  e  Storia  Letteraria.  Bologna  :  Zanichelli,  1880,  p.  112,  and  A.  F. 
Massera,  Bulletino  Senese  di  Sforia  Patria^  Anqo  VIII.  fasc,  iii.  Siena, 
1 90 1,  pp.  443-44, 


24  GIOVANNI    ANTONIO    BAZZI 

writer^  lays  stress  with  considerable  force  upon  the 
fact  that  nicknames  are  not  evidence ;  and  adds  the 
following  words,  which  seem  to  me  most  pertinent 
in  this  case  : — 

.  .  .  Memoirs  are  not  to  be  relied  upon  even  in  these 
days  of  rapid  transmission  of  news  and  wide  publicity.  An 
historian  who  should  essay  to  compile  the  biography  of 
a  public  man  of  to-day,  even  from  the  daily  and  weekly 
journals,  which  are  filled  with  personal  gossip  about  those 
upon  whom  the  attention  of  the  public  is  fixed,  would  find 
such  a  mass  of  contradictions  to  deal  with  that  he  would 
abandon  his  task  in  despair ;  and  yet  the  matter  thus 
afforded  to  his  inspection  is  day  by  day  subject  to  correc- 
tions. Memoirs  written  by  an  irresponsible  person  in  his 
private  study  are  even  more  likely  to  contain  perversions 
of  fact,  to  omit,  to  exaggerate,  ^to  represent  exclusively 
the  personal  bias  of  the  writer. 

It  is  hardly  necessary  to  add  that  loose  anecdotes  and 
buffooneries  ...  do  not  constitute  evidence. 

Our  object  is  to  raise  this  cloud  of  obloquy  from 
the  man,  to  point  out  the  weaknesses  of  the  hitherto 
blindly  accepted  arguments,  and  to  place  the  artist 
in  a  fair  and  just  light ;  so  that  readers  may  judge 
for  themselves  how  far  the  castigation  meted  out 
to  him  is  merited.  For  this  purpose  no  stone 
has  been  left  unturned  and  no  original  document 
unexamined. 

It  is  sufficient  here  to  emphasize  the  point,  that 
whatever  may  have  been  the  real  origin  of  the 
appellation,  and  in  spite  of  the  ribald  pleasantries 
which  not  unnaturally  resulted  from  the  sound, 
there  exists  at  any  rate  no  authentic  document  or 

^  J.  C.  Tarver,  Tiberius  the  Tyrant.  Constable  &  Co. ;  London,  1902, 
pp.  293-4. 


SUMMARY  OF   BAZZI'S  CHARACTER   25 

proved  fact  to  justify  the  statement  that  the  name 
was  derived  from  his  habits ;  while  the  general 
tenour  of  the  artist's  life,  as  far  as  it  can  be  ^/5- 
/(^/'/Vi^://)/ ascertained,  if  wildly  eccentric,  is  certainly 
not  that  of  a  loose  or  prurient-minded  man.  On 
the  contrary,  we  shall  have  reason  to  notice  that 
when  the  most  alluring  opportunities  were  offered 
him  to  indulge  in  any  taste  that  he  might  have  for 
pictorial  scurrility,  instead  of  launching  forth  into 
lewdness, — as  so  many  of  his  contemporaries  did, — 
he  has  left  for  us  one  of  the  purest  Love-idylls  of 
all  time.^  There  is  not  one  picture  of  his, — though 
many  are  sensuous  in  the  extreme, — that  suggests 
any  but  the  most  chaste  and  noble  thoughts.  This 
fact  is  undeniable ;  and  while  allowing  for  all  errors 
of  artistic  taste,  speaks  volumes  against  the  calumny 
of  the  worthy  Aretine. 

Siena  may  justly  claim  Bazzi  as  one  of  her 
children  by  adoption  and  long  residence,  and  to 
his  influence  on  her  school  of  painting — at  the  time 
of  his  advent  fast  narrowing  down  into  rigidity  and 
byzantinism — she  owes  a  heavy  debt  of  gratitude. 
But  local  patriotism,  try  as  it  may,  cannot  efface 
the  Lombard  traces  from  his  style  and  methods, 
were  there  nothing  else  to  prove  his  origin.  The 
honours  showered  upon  him,  the  commissions 
given  to  him  on  all  sides  by  clergy  and  laity  alike, 
and  the  recognition  of  his  sobriquet  in  official 
documents  by  the  Sienese  authorities,  render  the 
imputation  of  profligacy,  wherewith  he  has  been 
branded,  unwarrantably  severe. 

^  The  frescoes  of  \he.  Marriage  of  Alexander  and  Roxana  in  the  Villa 
Famesina,  Rome, 


26  GIOVANNI    ANTONIO    BAZZI 

In  closing  this  chapter,  we  cannot  do  better 
than  quote  the  persuasive  and  eloquent  words  of 
M.  Albert  Rio/  who  puts  the  whole  matter  very 
completely  and  tersely.  He  takes  up,  it  is  true, 
another  line  of  defence,  which,  if  not  so  strong,  is  at 
least  worthy  of  serious  consideration,  side  by  side 
with  the  points  that  we  have  already  put  forward. 

La  depravation  precoce  que  Vasari  a  I'air  d'imputer  si 
legerement  au  peintre  Razzi  est  incompatible,  je  ne  dis 
pas  seulement  avec  le  caractere  de  ses  premieres  oeuvres, 
mais  avec  I'estime  et  I'emploi  qu'obtenait  son  talent  parmi 
les  religieux  des  ordres  les  plus  severes,  chez  les  Carmes, 
chez  les  Dominicains,  chez  les  Olivetains,  chez  les  Fran- 
ciscains  de  I'Observance ;  elle  est  surtout  incompatible 
avec  la  popularite  inouie  dont  il  jouissait,  de  I'aveu  meme 
de  Vasari,  aupres  du  peuple  de  Sienne,  plus  leger  peut- 
etre  dans  ses  goiits,  mais  moins  perverti  que  celui  de 
Florence.  A  I'exception  du  banquier  Chigi,  dont  le 
malheur  des  temps  avait  fait  une  puissance,  il  n'y  avait 
peut-etre  pas  un  seul  membre  de  la  noblesse  Siennoise, 
dont  I'art  eut  a  redouter  un  patronage  en  disaccord  avec 
ce  qu'on  appellerait  aujourd'hui  les  prejuges  de  la  multi- 
tude. Les  traditions  du  moyen  age  conservaient  tout 
leur  empire,  et,  au  plus  fort  des  troubles  civils,  Sienne 
demeurait  toujours  la  cit^  de  la  Vierge.  Comment  le 
privilege  de  tracer  son  image  dans  les  cloitres  et  sur  les 
autels,  dans  les  oratoires  publics  et  priv^s,  dans  les  taber- 
nacles des  carrefours  et  j usque  sur  les  bannieres  des 
processions,  aurait-il  pu  etre  octroy^,  pendant  pres  d'un 
demi-siecle,  a  un  artiste  notd  d'infamie,  et  d'un  genre 
d'infamie,  pour  la  repression  duquel,  la  colere  du  peuple 
n'attend  pas  toujours  la  lente  intervention  des  lois  ? 
Comment  aurait  on  confie  de  preference  a  une  imagination 

^  Albert  F.  Rio,  De  VArt  Chretien,  vol,  iii.  pp.  219-34.  Paris : 
Hachette  et  Cie,  1861.  - 


M.    RIO'S   JUDGMENT  27 

souillee  par  le  vice  le  soin  de  reproduire  sur  les  murs  des 
chapelles  et  des  confreries  les  legendesd'un  saint  Bernardin 
et  d'une  sainte  Catherine,  dont  la  memoire  etait  chere  a 
tous,  mais  dont  I'intercession  etait  plus  particulierement 
invoquee  par  les  ames  pures,  ou  par  celles  qui  sentaient 
vivement  le  besoin  de  le  devenir?  La  devotion  populaire 
a  aussi  ses  exigences  et  ses  instincts  qui  sont  plus 
infaillibles  qu'on  ne  pense. 

Note. — While  this  work  was  going  through  the  press  our 
attention  was  called  to  the  following  passage,  which,  we  believe, 
is  satisfactorily  answered  in  the  foregoing  chapter : — Algernon 
Charles  Swinburne.  Essays  and  Studies:  Notes  on  Designs  of 
the  Old  Masters  at  Florence.  2nd  edition.  London  :  Chatto  and 
Windus,  1876,  p.  350,  note.  "  Bazzi,  as  the  last  Sienese  guide- 
book will  needs  have  him  called  ;  Razzi  or  Bazzi,  Sodoma  or 
Sodona,  the  name  of  St.  Catherine's  great  painter  seems  doomed 
to  remain  a  riddle.  Happily  the  beauty  of  his  work  is  no  such 
open  question,  so  that  the  name  matters  little  enough." 


CHAPTER  II 

EARLY  YEARS  AND  APPRENTICESHIP 

Having  now  prepared  the  reader's  mind  to  form  an 
unbiassed  judgment,  we  would  turn  back  and  relate 
such  facts  as  can  be  accurately  ascertained  with 
regard  to  the  artist's  early  life.  For  many  years,  as 
we  have  already  had  occasion  to  point  out,  a  cloud 
of  mystery  obscured  his  origin,  and  many  were  the 
controversies  that  arose  in  consequence.  The  im- 
portant work  of  the  learned  antiquary,  Padre  Luigi 
Bruzza,^  published  in  1862,  has  finally  set  at  rest 
all  conjectures  on  that  score.  Although  it  cannot 
be  said  that  even  with  his  aid  we  learn  very  much, 
yet  certain  leading  and  important  facts,  supple- 
mented by  researches  since  made  by  Padre  Giuseppe 
Colombo,^  enable  us  to  reconstruct  a  fairly  complete 
picture  of  Bazzi's  early  surroundings.  Colonel 
Faccio  ^  mentions  the  existence  in  the  Communal 
Archives  at  Vercelli  of  no  fewer  than  thirty-two 
documents  relating  to  the  Bazzi  family.  Of  these, 
fifteen  merely  contain  the  names  of  Giacomo  Bazzi 
or  his  second  son  Niccolo  as  witnesses,  etc.,  in 
matters  other  than  their  own  affairs  ;  four  concern 
the  dwelling-place  of  Giacomo  Bazzi  in  Via  San 
Michele,  Vercelli ;  three  more  deal  with  Niccol6's 
marriage ;  but  nine  only  have  reference  directly  or 
indirectly  to  our  artist. 

^  Bruzza,  Op.  cit,      ^  Colombo,  Op.  cit.      ^  Faccio,  Op.  cit.,  p.  i6. 


-MAESTRO"   GIAC0;M0   DE    BAZIS     29 

The  custom  frequently  obtains  among  negligent 
writers,  when  the  subject  of  their  pen  happens  to  be 
the  son  of  an  artizan,  to  speak  of  him  as  though 
he  were  ipso  facto  of  the  lowliest  origin,  and  had 
been  brought  up  in  ^\xq,'^\,  poverty .  To  instance  a 
parallel  case  :  a  cheap  rhetorical  effect  is  we  know 
constantly  sought  by  speaking  of  the  Apostles  as 
"poor"  fishermen,  when  a  very  cursory  glance  at  the 
Gospel  narrative  shows  that,  considering  time,  place, 
and  surroundings,  Peter,  Andrew,  and  the  sons  of 
Zebedee  at  least,  were  in  all  likelihood  men  of  com- 
fortable, if  not  affluent,  circumstances.  Likewise 
to  speak  of  Giovanni  Antonio  Bazzi  as  the  son  of 
a  ''humble  cobbler^'  exhibits  a  misconception  with 
set  purpose  of  the  customs  of  the  period.  Maestro^ 
Giacomo  de  Bazis  himself  had  been  apprenticed  to 
his  calling,  and  rose  to  be  a  master-member  of  his 
Guild  or  ''Art'' ;  which  in  those  days  ranked  with 
any  of  the  trades  now  designated  as  the  Fine  Arts. 
The  fact  that  Martino  Spanzotto,  at  that  time  ad- 
mittedly one  of  the  principal  craftsmen  among  the 
painters  of  his  native  town, — allied,  moreover,  with 
a  patrician  family, — accepted  the  shoemaker's  son 
as  his  apprentice,  shows  that  he,  at  any  rate,  held 
Master  Giacomo  to  hthis  social  equal.^     Further- 

^  Frizzoni  {Op.  ciL,  p.  loi)  justly  makes  merry  over  Herr  Jansen's 
mistake  in  reading  Magro,  i.e.  Magister,  as  Magro  =  kafi.  That  he  was 
a  man  of  some  substance,  according  to  the  standards  of  his  day,  is  shown 
by  the  relatively  large  sums  of  money  assigned  in  various  ways,  by  Giacomo 
Bazzi  for  the  benefit  of  his  wife  and  children. 

^  That  Giacomo  de  Bazis  was  not  the  only  shoemaker  in  these  parts 
who  apprenticed  his  son  to  a  painter,  we  have  evidence  from  the  docu- 
ments collected  by  Padre  Colombo  {Op.  cit.,  p.  393). 

"  1496,  6.  Luglio.  Magister  ambroxius  blaxio  de  Vighvano  siobbliga 
di  ammaestrare  nelP  arte  delta  pittura,  per  lo  spazio  di  cinque  anni^ 


30  EARLY  YEARS  AND  APPRENTICESHIP 

more,  the  presence,  as  witnesses  to  this  deed,  of 
Master  Francesco,  the  embroiderer,^  and  the  noble- 
man, Francesco  de  Tizzoni,^  together  with  the  sum 
paid  (50  Milanese  florins),  all  lead  to  the  same 
inference :  i.e.,  that  Giacomo  de  Bazis  was  neither 
the  pariah  nor  the  pauper  he  is  commonly  asserted 
to  have  been.  The  number  and  rank  of  the  wit- 
nesses to  the  Will,  by  which  he  left  considerable 
property,  etc.,  including  some  arable  land  adjoining 
the  ViaPelosa, — a  fact  noticed  in  several  subsequent 
documents, — to  his  family,  all  tend  to  bear  out  the 
same  argument. 

So  much  has  thus  been  conclusively  established  : 
that  Giacomo  Bazzi  came  from  Biandrate,  his  pro- 
bable birthplace,  to  Vercelli ;  where,  on  January 
25th,  1475,  he  took  on  lease,  from  one  Lorenzo 
Furione,  at  a  rent  of  16  florins,  a  shop  with  a  house 
adjoining,  in  the  Via  San  Michele.^  House  and  shop 
stood  on  the  borders  of  the  adjacent  parishes  of 
S.  Michele  and  Sta.  Maria  Maggiore ;  but,  while 
repeated  efforts  have  been  made  to  trace  the  exact 

Amedeo,  figlio  di  Agostifio  di  Masserano,  calzolaio."  Rogito  di  Francesco 
de  Lonate.     Not.  2,  fol.  220. 

^  Faccio  {Op.  cit.,  p.  217,  note)  points  out  that  Bruzza  has  read  bor- 
dorerii,  a  word  which  cannot  be  found  in  the  dictionaries ;  but  that  a 
careful  examination  of  the  text  shows  it  to  be  borduarii  or  bordarii, 
meaning  "  a  trimming  maker,"  "  an  embroiderer  "  (cf.  Du  Cange).  There 
exists  a  Broiderers'  Company  in  the  City  of  London  at  the  present 
day. 

2  Jansen  {Op.  cit.,  p.  10)  creates  some  confusion  here  between  Tizzoni 
and  Trissoni.  He  speaks  of  Giovanni  Antonio's  patron  as  Francesco  dei 
Trissoni  in  the  same  paragraph  in  which  he  has  just  been  discussing 
the  Trissoni  family  of  painters.  As  a  matter  of  fact  the  name  of  the 
latter  family  was  Trissini  or  Tresseni.  Cf.  Colombo,  Op.  cit.,  pass. ; 
and  post,  pp.   33,  35. 

^  Archivio  Civico  di  Vercelli.  Rogito  di  Guidetto  de  Pellipariis, 
Not.  4,  fol.  334. 


THE    BAZZI    FAMILY  31 

spot,  the  changes  that  have  successively  taken  place 
within  this  area  render  all  attempts  at  identification 
nugatory.  Padre  Bruzza  is  probably  correct  in 
supposing  the  site  to  have  lain  in  the  street  now 
known  as  Via  della  Torre;  and  it  is  not  impossible 
that,  as  Faccio  further  suggests,  the  modern  Casa 
Leone  stands  on  the  spot  where  Giovanni  Antonio 
Bazzi  was  born,  and  spent  the  years  of  his  child- 
hood and  early  youth. 

Hither  in  1476,  Giacomo  Bazzi  brought  his  bride, 
Angelina,  daughter  of  one  Niccolo  da  Pergamo 
(Bergamo)^ ;  and  here  theirthreechildren,  Giovanni 
Antonio,  Niccolo,  and  Amedea  were  born.  Some 
eighteen  years  afterwards  they  removed  to  another 
house  near  by,  belonging  to  the  Sarrata  family,^ 
where  the  widow  and  her  second  son  continued  to 
reside  after  Maestro  Giacomo's  death.  That  the 
latter  dwelling  lay  within  the  parish  of  Sta.  Maria 
Maggiore  admits  of  no  doubt,  since  Niccol6 
Bazzi's  three  children  were  all  baptized  in  that 
church. 

The  reasons  for  joining  issue  with  Herr  Jansen's^ 
contention  respecting  the  order  of  their  children's 
birth,  and  our  opinion  that  Giovanni  Antonio  was 
Giacomo  and  Angelina  Bazzi's  eldest  child,  have 
already  been  stated. 

^  Bruzza  suggests  that  the  shop  was  in  the  former  and  the  house  in 
the  latter  parish.  Archivio  detto.  Rogito  di  Guidetto  de  Felliparits, 
Not.  4,  fol.  334  ;  Not.  19,  fol.  307.  Di  Enrico  de  Balbis,  Prot.  3,  fol.  2 
e  218  ;  Prot.  4,  fol.  231 ;  Not.  8,  fol.  139.  Di  Gio.  Giacomo  de  Riciis, 
Not.  6,  fol.  I.     Op.  cit.,  p.  16,  note  40. 

^  Archivio  detto.  Rogito  di  Guidetto  de'  Fellipariis,  Not.  9,  fol.  307. 
Bruzza,  Op.  cit. 

^  Bruzza,  Op.  cit.y  p.  cit.     Faccio,  Op.  cit.,  p.  18. 

*■  Jansen,  Op.  cit.     Cf.  p.  9. 


32  EARLYYEARS  AND  APPRENTICESHIP 

On  November  28th,  1490,  Giovanni  Antonio, 
having  reached  the  age  of  twelve  or  thirteen,  was 
apprenticed^  to  Maestro  MartinoSpanzotto,  painter, 
of  Casale  Monferrato.  The  conditions  of  service 
exhibit  an  interesting  analogy  with  a  similar 
agreement,^  whereby  one  Matteo  di  Giuliano 
Balducci,  of  Citt^  della  Pieve,  was,  in  15 16-17, 
articled  in  the  same  way  to  Bazzi  himself.  The 
term,  of  seven  years,  commenced  on  Christmas 
Day,  and  the  father  covenanted  to  furnish  the  son, 
on  entering  the  school,  with  two  smock  frocks 
(diploydes)  and  three  pairs  of  buskins  (caligae) ;  and 
each  year  a  suit  of  clothes  **of  a  suitable  size,"  be- 
sides walking-shoes  (5<9/^/^r^5"),  shirts  and  necessary 
linen  :  all  additions  and  repairs  needed  to  his  ward- 
robe over  and  above  these,  being  supplied  by  the 
master.  The  premium  of  50  Milanese  florins 
(=  160  francs  approximately)  was  divided  into 
seven  portions,  payable  in  annual  instalments  at 
the  commencement  of  each  year.  Maestro  Giacomo 
covenants  furthermore,  on  behalf  of  his  son,  that 
the  said  son  shall  be  a  useful  and  obedient  servant 
to  his  teacher  and  master. 

In  return  for  all  this,  Spanzotto  bound  himself 
to  feed  and  lodge  the  boy  *'  as  became  his  station  " 
{condeceiitem  justa  condicione),  and  to  teach  him 
all  the  various  forms  of  painting,  with  the  rules, 
etc.,  and  the  secrets  of  the  trade  "  as  far  as  he 
knew  them  himself"  :  i.e.,  arteni  pinctorie  toto  suo 

^  Archivio  detto,  28  November,  1490.  Notulario  di  Guidetto  de 
Pellipariis,  n.  18,  fol.  592.     See  Appendix  No.  2. 

2  Arch.  Not.  Prov.  Siena.  Rogitidi  Ser  Alessandro  di  Ser  Francesco 
Umani,  ad  annum.  1516-17,  11  di  Gennaio.  Cf.  post^  p.  156,  and 
Appendix  No.  14. 


MARTINO  SPANZOTTO  33 

posse  et  vidriatarum  ^  et  aliarimique  sit  \scif\  idem 
M.  Martiniis.  Certain  clauses  follow  in  usual  form, 
stipulating  compensation  in  the  event  of  a  breach  of 
the  contract,  and  ensuring  the  validity  thereof,  as 
regarded  the  apprentice,  since  the  lad  was  under  age. 
As  until  a  comparatively  recent  date  little  or 
nothing  was  known  about  Martino  Spanzotto  ;  and 
the  belief  prevailed  that  his  entire  work  had  been 
lost,  it  may  be  as  well  here  to  record  in  a  few 
words,  the  fruits  of  modern  inquiry  concerning 
the  remarkable  family,  of  which  he  was  the  most 
conspicuous  member.  So  far  no  trace  has  been 
found  of  the  work  undertaken  by  him,  conjointly 
with  Giovanni  Trissino  da  Lodi,  in  the  church 
of  S.  Paolo  at  Vercelli,  for  the  patrician  family 
of  Ajazza,  concerning  which  corroborative  docu- 
ments still  exist  in  the  Communal  Archives  of 
that   city.^     But  the  publication  of  P.P.   Bruzza 

^  Many  writers  have  thought  fit,  from  the  introduction  of  this  word 
in  the  articles,  to  describe  Martino  Spanzotto  as  a  ^^ painter  on  glass  ^^ 
only,  and  to  ignore  the  fact  that  glass-painting  was  merely  one  of  the 
numerous  branches  of  the  craft,  taught  in  an  Italian  artist's  "  bottega,'" 
where  the  curriculum  included  frame-making,  carving,  gilding,  and  many 
other  cognate  subjects  of  art,  besides  the  fashioning  of  pictures.  This 
was  especially  the  case  in  those  schools  most  in  touch  with  the  Cisalpine 
Art-centres.  In  connection  with  the  art  of  glass-painting,  Bruzza  {Op.  cit., 
p.  39)  tells  us  that  existing  examples  of  ancient  glass  in  the  district  of 
VerceHi  are  extremely  rare,  though  some  pieces  are  to  be  found  in  the 
Val  Sesia  of  a  slightly  later  date.  Records  of  a  glass  factory  are  also 
extant  in  the  parish  of  S.  Salvatore  in  Vercelli,  of  which  a  certain 
Giovanni  Maria  Massara,  from  Altare  near  Savona,  was  principal  in  1570. 

^  Archivio  Civico  di  Vercelli.  3  Gennaio,  1490.  Rogito  di  Guidetto 
de  PellipariiSy  Not.  19,  fol.  17.  u  Gennaio,  1492,  di  Antonio  de 
Pessinis,  Not.  3,  fol.  3  and  66.  Cf.  also  Bruzza,  Op.  cit.,  Documents 
E  and  F,  pp.  40,  41  ;  Colombo,  Op.  cit.,  pp.  393,  475,  477 ;  and 
Conte  A.  Baudi  di  Vesme,  Archivio  Storico  dell'  Arte,  Anno  II.  (1889), 
fasc.  ii.  pp.  421-23.     See  Appendix  No.  6. 

Action  of  time  has  brought  about  so  many  alterations  in  the  church 


34  EARLYYEARSAND  APPRENTICESHIP 

and  Colombo's  researches,  followed  by  those  of 
Conte  Alessandro  Baudi  di  Vesme,  and  Cav.  Aw. 
Francesco  Negri  of  Casale  Monferrato  ;^  and 
finally,  the  discovery  of  at  least  one  signed 
work  by  this  master,  have  promoted  the  obscure 
'' painter  on  glass'' ^  to  an  important  position  in 
the  field  of  Piedmontese  Art.  Inasmuch  as  he 
was  the  first  teacher,  not  only  of  so  great  an  artist 
as  the  subject  of  this  essay,  but  also  of  another 
painter,  Defendente  Deferrari  of  Chivasso, — the 
knowledge  of  whose  merits  has  as  yet  scarcely 
spread  beyond  the  districts  wherein  he  lived  and 
worked, — Martino  Spanzotto's  claim  to  a  distinct 
place  in  the  evolution  of  Italian  Art  cannot  properly 
be  ignored. 

The  earliest  member  of  the  Spanzotto  family 
mentioned  by  Bruzza  and  Colombo  is  one  Pietro, 

of  S.  Paolo,  that  the  chapel,  said  to  be  that  specified  in  these  documents, 
is  now  a  dark  lobby  leading  to  the  sacristy.  The  walls  of  this  lobby 
are  covered  with  whitewash ;  and,  although  traces  of  frescoes  have,  it 
is  true,  been  found  there,  as  yet  no  thorough  examination  has  taken 
place. 

It  is  worthy  of  note  that  Franz  Rieffel  {Siudien  aus  der  Maimer 
Gemdlde-Galerie :  Eusebio  Ferrari  und  die  Schule  von  Vercelli — 
Repertorium  fiir  Kunstwissenschaft,  Anno  XIV.  pp.  275-92)  identifies  the 
beautiful  triptych  (Nos.  217,  218,  219)  in  the  Public  Gallery  at  Mayence 
(once  attributed  to  Bazzi,  but  now  generally  ascribed  with  more  reason  to 
Eusebio  Ferrari)  with  a  similar  painting  by  that  artist  described  by  Cav. 
Gaspare  Antonio  De  Gregory  {Storia  della  Vercellese  Litteratura  edArti: 
Torino,  Chirio  e  Mina,  1820),  and  by  Carlo  Amedeo  Bellini  and  Giovanni 
Antonio  Ranza  {Serie  degli  Uomini  Grandi  di  Vercelli,  MS.  with 
marginal  notes,  1652,  Archivio  Civico  di  Vercelli)  as  adorning  this 
very  church  of  S.  Paolo  in  Vercelli. 

^  Francesco  Negri,  Una  Famiglia  di  Artisti  Casalesi  dei  Secoli  XV. 
e  XVI.  Estratto  dalla  Rivista  di  Storia,  Arte  e  Archeologia  della 
Provincia  di  Alessandria,  Anno  I.  fasc.  ii.,  Luglio — Dicembre  1892. 
Jacquemod  :  Alessandria,  1892. 

^  Giovanni  Morelli,  Italian  Masters  in  German  Galleries :  Berlin. 
Trans,  by  L.  M.  Richter.     George  Bell :  London,  1883. 


THE    SPANZOTTI  35 

referred  to  in  a  document^  dated  November  5th, 
1 48 1 ,  in  which  Martino  di  Casale  civis  et  habitator 
Vercellarimi  is  described  as  filius  niagri  petri. 
We  should  notice  further  that  Martino,  though 
spoken  of  here  as  '*  of  Casale,"  was  then  apparently 
domiciled  in  Vercelli ;  and  the  terms  ''civis  et  habi- 
tator'' would  seem,  by  the  implication  of  some  sort 
of  civic  right,  to  substantiate  the  probability  of  his 
having  attained  the  full  legal  majority  of  twenty- 
five  years.  Martino  Spanzotto  had  doubtless  been 
attracted  thither  by  the  advantages  held  out  by  the 
School  of  Art  in  that  city,  then  almost  a  close  cor- 
poration in  the  hands  of  the  great  painter  families 
of  Oldoni,  Giovenoni  and  Trissini  of  Lodi ;  at 
that  period  also,  one  of  the  most  important  and 
flourishing  centres  of  artistic  activity  in  Northern 
Italy.  Bruzza^  suggests  that  Pietro  may  have 
been  an  artist,^  and  shows  that  he  had  another  son, 
Francesco,  probably  a  painter,  of  whom  notices 
are  extant  in  1494*  and  1528.^    The  learned  Padre, 

^  Archivio  detto.  5  Novembre,  1481.  Agostino  de  Mondello  M.-8, 
Not.  20,  fol.  97.     Bruzza,  Op.  cit.,  p.  20.     Colombo,  Op.  cit.,  p.  391. 

2  Bruzza,  Op.  cit.,  p.  20. 

'  Cav.  Negri,  in  private  letters  to  the  author,  dated  October  21st, 
1902,  and  November  i6th,  1903,  states  that  researches  made  in  Casale  by 
Conte  di  Vesme  have  elicited  the  fact  that  Pietro  was  called  de  Capanigo, 
and  was  a  native  of  Varese,  but  was  domiciled  in  Casale  as  early  as  1470. 
He  further  quotes  in  his  work  "//  Santuario  di  Crea  in  Monferrato" 
(Piccione  :  Alessandria,  1902),  p.  22,  the  following  documents  : — 

Archivio  Civico  di  Casale.  16  Novembre,  1479.  Notaio  Carena. 
"  Pietro  Spanzotto  da  Canipanigo  (sic)  e  teste." 

29  Aprile,  1480.  Notaio  Musso.  '•^Martino  Spanzotto,  figlio  di  Pietro 
I  teste." 

*  Archivio  Civico  di  Vercelli.  7  Maggio,  1494.  Agostino  di 
Ghislareiigo,  G.-5,  Prot.  5,  fol.  155. 

*  Archivio  detto.  11  Giugno,  1528.  Gio.  Ambrogio  Bulgaro,'^o\..  11, 
fol.  210. 


36  EARLY  YEARS  AND  APPRENTICE  SHIP 

on  the  authority  of  the  document  of  1528,  further 
records  one  Pier  Francesco^  a  grandson  of  Pietro 
Spanzotto. 

Cav.  Negri  ^  has  discovered  two  more  Spanzotti, 
both  of  them  priests,  who  he  suggests  may  also 
have  been  brothers  to  Martino  and  Francesco — 
namely,  Gabriele,  a  Canon  of  the  Cathedral  of 
Casale  (1502)  and  Vicar-General  of  the  Diocese 
(1525)  until  his  death  on  October  28th,  1531  ; 
and  Vincenzo,  a  monk,  likewise  an  artist.  In 
discovering  Gabriele  this  diligent  searcher  also 
unearthed  the  name  of  the  mother  of  these  four, 
and  wife  to  Pietro, — Orsolina  de  Spanzotis,  who 
died  in  August,  1489.-'^  He  adds  that  a  painting 
formerly  in  the  possession  of  the  Counts  D'Arco  of 
Mantua,  but  now  lost,  the  portrait  of  the  notorious 

^  This,  however,  Conte  di  Vesme  believes  to  be  incorrect,  having 
failed  to  identify  the  individual  above  mentioned  in  the  deed  in  question. 

^  Negri  {Una  Fainiglia  cit.,  p.  15),  admits  his  indebtedness  to  a 
MS.  work  by  Canonico  Giuseppe  Deconti,  describing  the  works  of  art 
existing  in  Casale  up  to  the  year  1700,  from  which  his  nephew  Vincenzo 
Deconti  also  drew  his  Notizie  Storiche  di  Casale  e  Monferrato.  The 
same  writer,  however,  ih  the  letters  before  referred  to,  admits  that 
Deconti's  chronicle,  though  very  valuable  as  an  indicator  of  works  once 
existing,  is  most  unreliable  as  to  dates,  details,  and  attributions.  He 
adds,  further,  that  a  quantity  of  original  documents,  collected  by  the 
said  Vincenzo  and  removed  to  his  house  in  Turin  for  use  in  preparing 
his  Notizie,  were  destroyed  in  a  fire  during  the  bombardment  of  1799 
(during  which  Deconti's  father  also  lost  his  life). 

Nicomede  Bianchi  {Le  Carte  degli  Archivi  Fiemontesi,  1881, 
p.  369)  says  that  these  documents  were  not  all  destroyed,  but  that 
Baron  Giorgio  Rivetta,  Mayor  of  Casale  during  the  French  occupation, 
mentions  in  his  Memoirs  having  seen  many  of  them  exposed  for  sale  in 
Turin  at  the  beginning  of  the  last  century. 

3  In  the  Necrologium  Beati  Evasi  Casalensis,  quoted  in  the  Monu- 
menta  Historiae  Patriae  Scriptorum,  vol  iii.  pp.  485-6.  ^^  Augustus  : 
Obiit  Doniina  Ursolina  De  Spanzotis,  1489,  pro  cuius  aniversario,  et 
Magistri  Petri  eius  Mariti,  Dominus  Gabriel  eorum  filius  assignavit 
proprietateni  unatn" 


THE    SPANZOTTI  37 

Bianca  Maria  Gaspardone^  (Madame  du  Challant) 
in  bridal  attire,  was  generally  attributed  to  Gabriele, 
but  that  this  picture  was  probably  painted  by 
Martino  Spanzotto. 

Vincenzo  Spanzotto  appears  to  have  decorated 
the  sacristy  presses  in  S.  Maria  delle  Grazie  in 
Milan  in    1498.2 

Another  Spanzotto — i.e.  Pier  Antonio — is 
recorded  as  working  from  January  6th,  1548,  to 
the  end  of  December,  1549,  at  Castello  Sant' 
Angelo  in  Rome.^  This  same  Pier  Antonio  is 
also  mentioned  in  a  deed  of  June  ist,  1561,  among 
the  earliest  members  of  the  Academy  of  S.  Luke, 
which  proves  him  to  have  been  a  painter  of 
some  note.  Bertoletti  believes  Pier  Antonio  to 
have  been  a  son  of  Martino,  and  adds  two  further 
documents  :  the  marriage  contracts  of  his  two 
daughters,  Costantina  and  Albina ;  from  which 
we  learn  that  his  wife,  Faustina  by  name,  was 
a  native  of    Parma.      Of  these   said    daughters, 

^  Blanche  Marie  Scapardone,  or  Gaspardone,  born  1491  (?),  married 
first  Ermes  Visconti,  and  secondly  Baron  du  Challant.  She  was  executed 
for  her  crimes  in  1526.  See  Manuel  de  B ibliographie  Biographique  et 
d'' Iconographie  des  Feinmes  cellbres  .  .  .  par  tin  vieux  bibliophile.  Turin  : 
L.  Roux  &  Co.,  Imprimeurs  Editeurs  ;  Paris  :  Librairie  Nilsson,  338, 
Kue  S.  Honore,  1892.  Cf.  also  Matteo  Bandello,  Novella  4,  Grumello 
Cronica :  Milano,  G.  Miiller,  1856;  Pier  Ambrogio  Curti,  Madama  di 
Celan-.  Milano,  1875;  L.  G.  Vallardi,  La  Contessa  di  Cellant:  Milano,  1891. 

2  Giuseppe  Mongeri,  Arte  in  Milano.     Milano,  1872,  p.  212. 

^  Antonio  Bertoletti,  Artisti  Subalpini  a  Roma.  Mantova,  1884, 
p.  77  eseg. 

Archivio  di  Stato  di  Roma.  Libro  dei  Conti  della  fabbrica  e 
monizione  di  Castel  San f  Angelo.  1545-9,  fol.  129  et  seq.  Conte  di 
Vesme,  in  referring  to  these  discoveries  {Op.  cit.),  suggests  that  Pietro 
Spanzotto  may  have  visited  his  father's  former  pupil,  the  aged  Bazzi,  in 
Siena  on  his  way  to  Rome.  Of  course  this  is  not  impossible,  but  there 
is  no  recorded  authority  for  the  supposition. 


38  EARLY  YEARS  AND  APPRENTICESHIP 

Costantina^  married  in  1567  a  barber  named 
Pietro  Rignoni  of  Vogogna,  near  Novara,  whilst 
Albina^  married  a  Florentine  wood-carver, 
called  Giuliano  di  Cazerini.^ 

Last  of  all,  recorded  byAngiolo  Salomoni,^  comes 
Giovanni  A7nbrogio  Spanzotto,  who  accompanied 
Camillo  Castiglioni  in  1560  on  an  embassy  from 
Milan  to  Philip  IL  This  Giovanni  Ambrogio 
is  mentioned  by  Puccinelli^  among  the  Causidici 
Collegiati  (enrolled  attorneys  or  members  of  the 
Guild  of  Notaries)  in  1532,  and  is  said  to 
have  been  the  son  of  a  certain  Pietro  Martino 
Spanzotto,  Cancelliere  delle  Fortificazioni.  Negri  ^ 
concludes  from  the  coincidences  of  name,  date,  and 
profession,  that  this  Giovanni  Ambrogio  was 
another  son  of  Martino,  and  that,  just  as  Pier 
Antonio  was  attracted  to  Rome,  so  he  was  drawn 
to  Milan  to  exercise  the  profession  of  the  law. 
Why  the  additional  name  of  Pietro  and  the 
title  of  Cancelliere  delle  Fortificazioni  are  inserted 
is  not  clear. 

Returning  to  Martino  himself,  we  find  that  on 

^  Archivio  detto.  23  Ottobre,  1567.  Not.  Francesco  Graziano, 
1567-8,  fol.  68.  It  is  to  be  noticed  that  in  this  deed  Pier  Antonio  is 
described  as  Petrus  Antonius  de  Panzocchis  Casalensis. 

2  Archivio  detto.   10  Maggio,  1572.  Not.  Graziano,  1559-72,  fol.  403. 

^  The  late  Big.  Gaetano  Milanesi,  in  his  own  annotated  copy  of 
Bertoletti's  work  quoted  above  (now  preserved  in  the  Communal 
Library,  Siena),  spells  this  name  Zazerini  and  suggests  that  it 
should  be  Particini. 

*  Angiolo  Salomoni,  Memorie  Storico-diplomatiche  degli  Ambasciatori 
incaricati  d'affari  che  la  Citta  di  Milano  invih  a  diversi  principi,  chap.  xl. 
p.  156.     Milano,  1806. 

*•  Placido  Puccinelli,  Nobiltci.  del  Notaio,  p.  276.  Milano  :  Malevolti, 
1654. 

^  Negri,  Op.  cit.,  p.  19.  See  Appendix  No.  6a  :  Pedigree  of 
Spanzotto  Family. 


SPANZOTTO  AT  VERCELLI  39 

August  I  ith,  1 49 1, — ten  years,  be  it  observed,  after 
his  first  appearance  in  the  Vercellese  Archives, — 
he  took  on  lease^  from  Giovanni  Bartolommeo  of 
Conflentia  a  house,  comprising  a  shop,  a  parlour, 
two  bedrooms,  and  a  cellar,  close  to  Sta.  Maria 
Maggiore  in  Vercelli,  for  a  term  of  four  years  (**  or 
five,  if  so  it  pleased  Maestro  Martino  "),  at  a  yearly 
rent  of  twenty  Milanese  florins.  He  thus  became 
a  neighbour  of  Giacomo  Bazzi,  whose  son  had,  the 
year  before,  been  articled  to  him  as  apprentice. 

The  painting  commissioned  by  Niccolo  Ajazza, 
to  which  we  have  referred  above,  although  not 
completed  until  1492,^  when  the  artist  acknow- 
ledged the  receipt  of  the  sum  due  to  him  in  payment 
for  his  work,  was  in  process  of  execution  during 
this  period. 

On  May  yth,  1494/^  Martino's  wife,  Costantina — 
daughterto  Antonio  Pianta,*anobleman  of  Lauriano, 
in  the  district  of  Chivasso, — appointed,  we  find, 
certain  proctors,  including  her  husband  and  her 
brother-in-law,  Francesco  Spanzotto,  to  act  for 
her  in  a  lawsuit  with  a  kinsman,  Niccol6  Pianta ; 
perhaps,  Conti  di  Vesme  remarks,^  in  connection 
with  a  legacy  of  a  hundred  florins,  to  which  she 
was  entitled  under  the  will  of  her  uncle,  Spagnolio 

^  Archivio  Civico  di  Vercelli.  ii  Agosto,  1491.  Guidetto  de 
Pellipariis,  P.  5,  Not.  13,  fol.  346.  Colombo  {jOp.  cit.,  p.  392),  who 
reads  canepa  where  Baudi  de  Vesme  {Op.  cit.)  reads  canova. 

^  Archivio  detto,  11  Gennaio,  1492.  Antonio  de  Pessinis,  Not.  3,  fol.  3. 

^  Archivio  detto,  7  Maggio,  1494.  Agostino  Ghislarengo,  G.  5,  Prot.  5, 
fol.  155. 

*  It  would  appear  that  the  Pianta  also  bore  the  name  of  Spagnoli,  were 
joint  Lords  {consignori)  of  I^auriano  and  one  of  the  principal  families 
of  the  Chivasso  district. 

^  Baudi  di  Vesme,  Op.  cit. 


40  EARLY  YEARS  AND  APPRENTICE  SHIP 

Pianta,  concerning  which  matter  several  documents 
exist.  Not  long  after  this  we  learn  that,  his  lease 
having  expired,  Maestro  Martino,  returning  to 
Casale,  relinquished  his  domicile  in  Vercelli ;  for 
we  read  that,  on  December  21st,  1498,^  he  chose 
four  proctors  to  represent  him  in  certain  dealings 
with  Cavalier  Giovanni  Antonio  di  Marino.  Negri 
suggests,  as  another  reason  for  Spanzotto's  removal 
to  his  native  city,  the  revival  of  Art  in  that 
town  under  the  Paleologi  (Guglielmo  VII.  and 
Bonifacio  V.),  Marquesses  of  Monferrato,  during 
whose  rule  Casale  also  became  the  seat  of  a 
bishopric.  This  circumstance  attracted  many 
artists  thither,  foreign  as  well  as  native-born  ;  and 
no  doubt  Maestro  Martino  was  glad  to  return  once 
more  to  his  early  home.  On  July  3rd,  151 1,  and 
on  February  4th  and  August  12th,  15 12,  we  find 
the  painter  acting  sponsor  to  certain  children  ;  and 
since  this  is  precisely  the  period  when  Defendente 
Deferrari  makes  his  first  appearance  in  Casale, — 
coming  from  the  province  of  Chivasso,  where  also 
the  birthplace  of  Martino's  wife  is  situated, — Conte 
di  Vesme  submits  the  very  reasonable  plea  that  he 
likewise  was  Martino's  pupil. 

Vincenzo  Deconti^  informs  us  that,  on  September 
23rd,  151 1,  Martino  Spanzotto  was  commissioned, 
on  behalf  of  the  town  of  Casale,  to  paint  an  ancona 
for  the  high  altar  of  the  Church  of  Sta.  Maria  di 
Piazza ;  but  original  agreement,  church  and  picture 
have  all  disappeared. 

^  Archivio  detto.  21  Decembre,  1498.  Guglielmo  de  Lonate,  Not.  16, 
fol.  673. 

2  Vincenzo  Deconti,  Op.  cit.,  vol.  v.  p.  43. 


Photo :  Anderson. 


MADONNA   AND   CHILD. 
BY    MARTINO    SPANZOTTO. 

ROYAL    PICTURE    GALLERY,    TURIN.       ROOM    2.    NO.    30A. 


To  /ace  p.  41. 


HIS    PAINTINGS  41 

Our  latest  notice  concerning  this  artist  is  a  receipt^ 
dated  June  13th,  1524,  for  sixty-five  gold  scudi  paid 
to  him  by  Dorothea,  widow  of  Sigismondo  Asinari, 
for  a  painting  of  kS.  Francis  receiving  the  Stigmata, 
executed  for  the  Franciscan  Church  at  Casale. 
But  from  a  deed  dated  November  2nd,  1528,^  in 
which  Costantina  de  Spanzotis  effects  the  transfer 
of  her  property  at  Chivasso,  the  conclusion  is 
borne  in  upon  us  that  Martino  must  have  died 
at  some  time — the  exact  date  of  which  we  cannot 
specify — between  June  13th,  1524,  and  the  date 
above-mentioned  in  the  year  1528. 

The  few  existing  paintings  by  this  artist — either 
hitherto  unknown  or  masquerading  under  other 
attributions — are  at  length  being  brought  to  light 
under  the  auspices  of  modern  research.  The  one 
uncontested  work,  a  Madonna  and  Child,  preserved 
in  the  Royal  Pinacoteca  at  Turin  (Room  2,  No.  30^), 
was  acquired  by  the  Museum  authorities  in  1899. 
The  Virgin  is  seated  on  a  high-backed  Renaissance 
throne,  the  dais  raised  upon  three  round  feet, 
while  on  the  ground  beneath  lie  strewn  scattered 
blossoms  of  the  blue  periwinkle.  A  pensive 
maiden,  depicted  with  eyes  cast  down,  the  Madonna 
wears  a  very  sweet  and  tender  expression,  and  her 
fair  wavy  hair,  parted  simply  on  the  forehead, 
flows   over  her   shoulders.      She  is  attired  in  a 

^  Archivio  del  Conte  Asinari  di  Camerano.  Not.  Francesco  de 
Bazanis.  Found  by  Baron  Vernazza,  who  gave  the  original  document 
to  the  Library  of  the  University  of  Turin. 

2  Archivio  CoMUNALE  di  Chivasso.  2  Novembre,  1528.  Rute  1526, 
fol.  80.  "  JVobtlts  Costantina  de  Spanzotis  pictoris  .  .  .  consignat 
omnia  bonta  sua  immobilia  que  habet  et  tenet  in  loco  et  finibus  clavaxii, 
.  .  .  etcr 


42  EARLYYEARSAND  APPRENTICESHIP 

red  robe  and  a  green  mantle  adorned  with  narrow 
gold  edging.  In  her  lap  lies  the  Child,  clothed  only 
with  a  little  grey  jacket  scarcely  reaching  to  His 
waist.  He  grasps  a  green  book  and  gazes  up  into 
His  Mother's  face.  A  conventionally-patterned 
background  in  gold,  combined  with  the  wealth  of 
decoration  lavished  upon  the  throne,  serves  to 
accentuate  the  simplicity  of  the  Virgin's  mien  and 
attire.  The  picture  is  painted  on  panel,  and  the 
remnants  of  a  much-damaged  Gothic  frame  show 
that  it  probably  formed  part  of  a  polyptych  of  some 
sort.  The  dais  of  the  throne  bears  the  words : 
Ho-Pus.  JoHis  Martini  Casalen.^  The  com- 
position as  a  whole  breathes  ingenuous  charm,  the 
weakest  part  being  thefigure  of  theChild ;  ill-drawn, 
with  a  head  so  misshapen  as  to  suggest  deformity, 
while  the  matted  curls  of  fair  hair  resemble  nothing 
so  much  as  a  badly-adjusted  wig. 

Another  picture  in  the  Albertina  Collection  in 
Turin  (Room  IV.,  No.  150),  attributed  to  the 
Antica  Scuola  Piemontese,  is,  notwithstanding 
the  nefarious  consequences  of  repeated  restoration, 
almost  certainly  by  the  same  hand.  Here  the 
Madonna  is  represented  as  a  somewhat  older 
woman  and  of  more  majestic  bearing.  The  mantle 
bordered  with  delicate  tracery  covers  her  head, 
concealing  the  hair.  The  Child,  nude  save  for  a 
diaphanous  strip  of  muslin  round  the  body,  stands 
upright  on  His  Mother's  knee.  Though  better 
drawn  in  this  instance,  the  close  resemblance  to 
the  Infant  in  the  picture  just  described  is  remark- 

*  This   inscription  would   indicate   that   he   also  bore  the  name  of 
Giovanni. 


HIS   WORK   AT   CHIERI  43 

able.  The  expression  of  the  Madonna  is  likewise 
benign,  while  the  lids  are  raised  so  that  her  eyes 
are  visible.  The  details,  which  recall  those  of  the 
picture  in  the  Pinacoteca,  are  throughout  more 
ornate :  the  throne  is  handsomer,  and  is  decorated 
with  clusters  of  fruit.  There  is  no  conventional 
background ;  but  seated  on  the  high  back  of  the 
throne  are  two  winged ////// of  the  same  somewhat 
large-headed  type,  playing  on  musical  instruments. 

Two  other  pictures  are  ascribed  to  Spanzotto's 
brush  by  various  authorities,  and,  since  each  in- 
volves certain  special  points  of  interest,  we  will 
proceed  to  describe  them  separately. 

Antonio  Bosio,^  and  following  in  his  steps  Conte 
di  Vesme,^  record  the  existence  of,  and  fully 
describe,  a  painting  in  several  panels  containing, 
inter  alia,  portraits  of  various  members  of  the  Tana 
family.  Lords  of  Santena,  placed  by  them  in  their 
chapel  in  the  Church  of  the  Madonna  delle  Grazie 
at  Chieri.  This  picture  was  transferred  about  the 
year  1536  to  the  church  of  S.  Agostino  in  the  same 
city,  and  since  the  demolition  of  the  latter  in  the 
early  years  of  the  nineteenth  century  the  fate  of  the 
painting  is  shrouded  in  obscurity.  An  inscription 
painted  upon  it,  and  copied  by  Bosio^  from  a  MS. 
account  by  Padre  Tomaso  Verani  {pbiit  1803),  after 
setting  forth  at  considerable  length  the  names  of 
the  Family  (the  Founder  of  the  Chapel  and  his  four 

^  C.  T.  Antonio  Bosio,  Memorie  Storico-Religiose  e  di  Belle  Arti  del 
Duomo  e  delle  altre  chiese  di  Chieri.  Torino  :  Collegio  degli  Artigianelli. 
1885,  p.  133. 

^  Baudi  di  Vesme,  Op.  cit. 

^  Bosio,  Op.  cit.,  p.  133  e  seg.  This  painstaking  writer  also  adds  a 
number  of  interesting  details  concerning  the  Tana  family. 


44  EARLY  YEAR  SAND  APPRENTICESHIP 

sons),  reads  as  follows : — Qui  hanctabulam  ipsorum 
impetisa  per  Joannem  Martmum  Simazotum  (sic) 
alias  de  Capanigo  1 488  ad  laudeni  ornnipotentis  Dei 
inviolateque  Marie  Virginis  dedicarmit.  Conte  di 
Vesme,  drawing  attention  to  the  fact  that  the  date 
1488  is  clearly  a  mistake  (probably  made  by  Padre 
Verani),  points  out  that  this  Simazoto  de  Capanigo 
is  no  separate  artist,  as  many  of  the  earlier  writers 
had  imagined,^  but  that  the  name  is  merely  an  erro- 
neous rendering  of  Spa7izotto  de  Capanigo.  Both 
writers  go  on  to  observe,  that  while  the  fate  of  the 
S.  Agostino  picture  is  unknown,  a  votive  polyptych 
still  exists  in  the  octagonal  Baptistery  of  the  Duomo 
at  Chieri,  dedicated,  as  may  be  seen  from  the  in- 
scription thereon,  to  the  memory  of  their  brother 
Tomaso,  by  Ludovico  and  Tomeno  Tana :  pro  uno 
legato  facto  de  quondam  suo  fratello  magnifico 
cavaliero  Hierosolimitano  /rate  Thomaso  morto 
in  Rodo  1503} 

^  Cf.  also  G.  B.  Spotorno,  Storia  Letteraria  della  Liguria.  Geneva  : 
Ponthenier,  1826,  Vol.  iv.  chap.  ix.  "  Simazzoti  0  Simazoto  Martino. 
1488."     "  Per  Martinum  Simazotmn  alias  de  Capanigo.     1488." 

^  Cf.  Barone  Francesco  Gamba,  Abbadia  di  S.  Antonio  di  Ranverso  e 
Defendente  De  Ferrari  da  Chivasso.  Torino ;  G.  B.  Paravia  &  Co., 
1876,  p.  40.  The  inscription  as  quoted  by  this  author  runs  as 
follows : — 

On  the  left  panel :  Questa  anchona  e  stata  facta  fare  per  i 

NOBILI  AC  GENEROSI  DOMINO  LUDOVICO  ET  PHILOMENO  A  TANIS,  ET 
CONDOMINIS  SANTINAE  PRO  UNO  LEGATO  DE  QUONDAM  SUO  FRATELLO 
MASTRO   CAVALIERO  JEROSOLIMITANO   FRATE  THOMASO   MORTO   IN  RODO. 

i''03  (1503)- 
On  the  right  panel :  Comandato  per  lo  reverendissimo  Grande 

MAESTRO  IN  RODO  CAN  GALEE  Q™^  TURCHI  IN  DEFENSIONE  DEL  LA  FEDE 
CATHOLICA  IL  QUALE  RESt6  IN  LA  DICTA  BATTAGLIA  PER  MANTENERE 
LA  FEDE  CATHOLICA  CON  ALTRI  MOLTl  CAVALIERI  CHE  RESTARONO  CON 
MOLTISSIMO  HONORE  DE  LA  REVERENDISSIMA  RELIGIONE  CON  UNA 
GRANDISSIMA  VITTORIA,  CON  GRANDISSIMO  HONORE. 

It  will  be  observed  that  the  quotation  in  the  text  varies  considerably 


POLYPTYCH    AT    CHIERI  45 

The  painting  consists  of  six  panels,  the  figures 
displayed  in  two  rows,  with  a  predella  running 
beneath  the  whole.  In  the  centre  the  Nativity 
with  SS.  John  the  Baptist  and  Thomas  in  the 
lateral  panels,  and  above  the  Madonna  and  Child 
flanked  by  55".  Jerome  and  Michael.  The  predella 
exhibits  a  figure  of  Christ  {Salvator  Mundi)  with 
His  Twelve  apostles,  six  on  either  side.  Barone 
Gamba  attributes  this  picture  to  Defendente  De- 
ferrari,  but  certain  characteristics — notably  the 
treatment  of  the  Madonna  and  Child  in  the  centre 
panel  of  the  upper  row — strongly  recall  the  manner 
of  Martino  Spanzotto.  From  facts  gained  in  con- 
nection with  these  two  votive  pictures  we  apprehend 
that  they  must  both  have  been  painted  subsequent 
to  1503,  since  it  was  on  August  loth  of  that  year 
that  Tomaso  Tana  died  of  wounds  received  on  the 
previous  day  in  a  naval  engagement  against  the 
Turks  at  the  siege  of  Rhodes.  The  weight  of 
evidence  then  doubtless  favours  the  presumption 
that,  if  not  actually  the  work  of  Martino  Spanzotto, 
the  painting  must  at  least  have  issued  from  his 
bottega} 

from  that  in  the  note.  The  former  is  Bosio's  version  {Op.  cit.,  p.  127). 
The  Baron  has  certainly  erred  in  reading  Philomeno  for  Tomeno.  Cf. 
also  Col.  Angelucci,  SulV  Esposizione  d^  Arte  Antica:  Torino,  1880; 
and  cf  Giuseppe  Cesare  Barbavara,  Breve  Notizie  su  due  Antichi  Pittori 
Piemontesi.  Extract  from  "  Arte  Sacra."  Torino :  Roux,  Frassati  & 
Co.,   1898. 

^  Bosio  further  informs  us  (p.  128)  that  this  polyptych  was  closed  by 
doors,  and  that  these  doors  were  painted  on  both  sides  ;  one  of  the  inside 
panels  represented  the  Holy  Family  with  S.  Anne,  etc.,  and  the  other 
the  Baptistn  of  Christ.  The  outside  of  one  of  the  wings  showed  a  Holy 
Bishop  in  full  Pontificals  censing  an  altar ;  whilst  the  corresponding 
panel  bore  the  inscription  Exaudita  est  oratio  tua.  The  following 
signatures   Francisc.     Bergladi.    et    Gomar.    Davers     Faciebat 


46  EARLY  YEARS  AND  APPRENTICESHIP 

The  other  work,  a  picture  in  the  Church  of 
S.  Antonio  at  Casale  Monferrato,  is  cruelly  injured 
by  smoke  and  nail-marks.  It  hangs  in  the  Callori 
Pico  family  chapel  (now  belonging  to  the  Marchesa 
Massel).  It  is  also  a  polyptych  in  six  divisions  : 
a  central  portion  with  two  panels  of  unequal 
size  on  either  hand,  and  a  predella :  varying 
greatly  in  merit.  The  principal  composition  is 
remarkable  in  many  ways.  First  and  foremost  on 
account  of  its  subject,  an  extremely  infrequent  one 
on  this  side  of  the  Alps  :  namely,  the  Genealogy  of 
the  Madonna}  An  ornate  Renaissance  Hall  forms 
an  appropriate  setting  for  the  following  personages. 
In  the  centre  .S.  Anne,  an  elderly  woman  in  a  white 
veil,  is  seen  holding  an  open  book  in  her  left  hand, 
while  with  the  other  she  supports  the  Madonna, 
seated  on  her  right  knee.     The  Child,  nude  save 

appeared  below.  The  learned  writer  endeavours  to  argue  that  these 
were  two  otherwise  unknown  Flemish  painters.  About  the  middle  of 
the  eighteenth  century  these  panels  had  become  so  dilapidated  that 
they  threatened  to  fall  to  pieces.  D.  Peirone,  Rector  of  San  Giovanni 
ad  Pontes  (the  Baptistery),  therefore  removed  them,  and  they  had 
disappeared  at  the  time  when  Bosio  wrote. 

^  We  have  only  been  able  to  discover  five  Italian  examples  of  this 
subject.     They  are  as  follows  : — 

(a)  In  the  Sacristy  of  the  Duomo  at  Turin.  A  very  poor 
specimen. 

{b )  In  the  Duomo  at  Asti ;  painted  by  Gandolfino  di  Roretis.  Part 
of  a  polyptych,  now  divided  and  half  buried  in  a  huge  Renaissance  altar- 
piece  ;  this,  the  centre  portion,  being  hung  very  high  up.  It  is  signed 
and  dated  1501,  and  is  fully  described  by  Diego  di  S.  Ambrogio  {Arte  e 
Storia  :  Firenze,  August  31st,  1 901)  and  by  Giuseppe  Cesare  Barbavara 
{Op.  at.,  pp.  279-84). 

(c )  In  the  CoUegiata  at  Grignasco,  Val  Sesia.  Fine  colour  and  in 
good  condition.  Attributed  to  and  signed  (?)  by  Gaudenzio  Ferrari.  An 
impossible  attribution. 

{d)  The  picture  described  in  the  text  at  Casale  Monferrato.    , 

(e)  By  Lorenzo  di   Pavia  (Fasoli) ;  now  in   the   Louvre.     From  a 


Photo :  Cav.  Francesco  Negri. 

THE   GENEALOGY   OF   THE   MADONNA. 

(SCHOOL  OF   SPANZOTTO.) 

CHURCH    OF    ST.    AGOSTINO,    CASALE   MONFERRATO. 


To  /ace  p.  46. 


Oj>,      Of- 
'  'FORH^ 


GENEALOGY   OF    THE    MADONNA   47 

for  a  delicate  piece  of  muslin  round  His  loins, 
stands  on  the  Virgin's  left  knee.  He  clings  to 
His  Mother  with  His  right  hand,  while  with  His 
left  He  turns  over  the  pages  of  the  book  held  by 
His  grandmother.  Around  this  group  and  in 
their  rear,  six  men  in  Oriental  attire,  standing  in 
varied  attitudes,  represent  respectively  Joachim, 
Cleophas  and  Salomd  (the  three  husbands  given  by 
tradition  in  succession  to  5.  Anne),  and  S,  Joseph, 
Orpheus  (sic,  i.e.  Alpheus),  and  Zebedee,  the  hus- 
bands of  her  three  daughters,  all  named  Mary. 
Seated  on  steps,  below  the  group  just  mentioned 
are  the  other  two  Marys:  Mary  Zebedee,  with 
her  two  sons  ^55.  James  the  Great  and  John 
the  Evangelist ;  and  Mary  Alpheus,  with  her 
four  sons  vS^.  James  the  Less,  Joseph  Justus, 
Simeon,  and  Thaddeus.  The  colour  is  pleasing, 
and  the  aureoles,  edges  of  robes,  etc.,  are  set 
off  with   gold.      A   label    bearing   the   following 

church  at  Savona.  This  is  the  largest  and  perhaps  the  finest  of  the 
series. 

Though  varying  in  detail,  all  five  resemble  each  other  in  general 
arrangement  of  the  figures,  being  evidently  drawn  from  one  traditional 
composition,  which  probably  came  from  Germany,  where  the  subject  is 
very  common.  It  is,  in  fact,  to  be  found  all  over  Northern  Europe  in 
painting,  glass,  sculpture  (wood,  stone,  and  plaster),  enamel,  miniature 
and  tapestry ;  but  very  rare  in  Italy,  and  even  unknown  in  the  central  or 
southern  schools  of  that  country. 

In  b,  c,  d,  e  the  names  of  the  various  personages  are  either  written 
near  them  or  on  labels  in  their  hands,  and  on  b,  c,  and  d  is  painted  the 
inscription  quoted  in  the  text,  which,  with  slight  variations,  is  the  same  in 
every  case. 

Two  incomplete  Italian  versions  of  this  subject  are  to  be  found  in  the 
celebrated  painting  by  Perugino  in  the  Picture  Gallery  at  Marseilles,  and 
in  a  composition  by  Parmigiano  mentioned  by  Mrs.  Jameson  (Legends 
of  the  Madonna.  Boston:  Houghton,  Mifflin  &  Co.,  p.  395).  In  both 
of  these  the  connecting  links  in  the  shape  of  the  husbands  of  S.  Anne 
are  omitted. 


48  EARLYYEARSANDAPPRENTICESHIP 

inscription  fills  the  space  at  the  foot  of  the  central 
panel : — 

Anna  so  let  did  tres  concepisse  Marias 

quas  genuere  viri  loachni  Cleophas  Solome 
Has  duxere  viri  Joseph  Orpheus  et  Zebedeus 
prima  parit  X  P  M :  Jacobil  secunda  minorem 
et  Joseph  iustum  peperit  et  Simone  Juda 
Tertia  majorem  Jacobum  genuit  atque  loannem} 

Two  of  Mary  Alpheus'  offspring,  who  stand  and 
sit  on  her  right  and  left  knees  respectively,  are 
nude  ;  and  the  little  S.  John  wears  only  a  thin 
white  shirt,  while  the  other  children  are  fully  clad. 
It  is  a  very  notable  characteristic  that  the  mean- 
derings  of  the  gold  tracery  in  the  decoration  create 
just  those  lines  that  the  leading  would  follow  if 
the  composition  were  produced  in  painted  glass. 
The  most  remarkable  and,  we  venture  to  think, 
the  most  interesting  points,  however,  are  the  two 
children  in  the  centre  below  and  the  head  of  Mary 
Zebedee.  All  three  are  much  more  carefully  drawn, 
more  easily  and  gracefully  posed,  and  possess  a 
greater  air  of  distinction  and  realism  than  any  of 

'  From  the  Textus  Sacramentarum — a  sort  of  rhyming  creed  first 
printed  in  1523,  but  traditionally  dating  as  far  back  as  1098 — adopted 
by  Renaissance  writers  and  artists.  See  B.  de  Montault,  who  gives  the 
entire  text  thus  : 

Anna  solet  did  tres  concepisse  Marias. 

Has  genuere  viri  loachim  Cleopkasque,  Salome, 
quas  duxere  viri  Joseph,  Alpheus,  Zebedeus. 
Prima  parit  Xtum,  Jacobumque  secunda  minorem. 
Atque  Joseph  Justu77i  peperit  cum  Symone  Judam  ; 
Tertio  majorem  Jacobum  volucremque  Johannem 
Unius  mater,  hec  quatuor,  ilia  quorum. 

CEuvres  Complies  de  Mgr.  Xavier  Barbier  de  Montault,  Prelat  de  la 
Maison  de  Sa  Sainteti,  vol.  xvi. :  Rome. — VI.  Hagiographie.  Huitibme 
Partie,  p.  379.     (Poitiers  :  Imprim.  Blais  et  Roy.,  1902.) 


POLYPTYCH,  CASALE-MONFERRATO  49 

the  remaining  figures  ;  and  whilst  the  head  of  Mary 
Zebedee  recalls  the  school  of  Leonardo,  the  two 
children  bear  a  very  strong  resemblance  to  those  in 
Bazzi's  beautiful  Charitas  in  the  Royal  Picture 
Gallery  at  Berlin  (No.  109).  Canonico  Deconti,  ^ 
attributing  the  work  to  Pietro  Spanzotto,  gives 
1500  as  the  date  of  its  execution  ;  but,  as  we  have 
already  said,  the  worthy  Canon's  dates  are  not 
altogether  trustworthy. 

No  undue  freedom  in  conjecture  is  necessary, 
however,  if  we  remember  that  Martino  Spanzotto 
would  appear  to  have  returned  to  Casale  about  1496, 
at  the  conclusion  of  the  lease  of  hishouse  in  Vercelli, 
and  that  Bazzi's  articles  did  not  expire  until 
December  1497.  The  surmise,  then,  is  not  un- 
justified that  this  was  a  picture  in  which  several 
brains  and  hands  had  their  part;  and  we  may  further 
submit  the  proposition,  that  in  these  children  and 
the  head  of  Mary  Zebedee  we  might  discern  the 
handiwork  of  the  young  pupiP  whose  term  of 
apprenticeship  was  just  then  drawing  to  a  close. 
The  side  panels  call  for  little  remark.  They  con- 
tain the  figures  oiSS.  Anthony  Abbas  and  Prancis. 
The  latter,  a  very  inferior  work  painted  in  an 
altogether  different  manner,  is  possibly  a  late  inser- 
tion intended  to  replace  a  damaged  or  destroyed 

^  G.  Deconti,  Oj>.  at.     Cf.  afite,  p.  36,  note  2. 

^  This  view  is  supported  by  Negri,  though  Conte  di  Vesme,  we  under- 
stand, holds  to  the  Pietro  Spanzotto  authorship.  But  what  more  hkely 
than  that  Pietro,  the  son,  was  also  one  of  his  father's  pupils  and  helpers, 
which  would  easily  give  rise  to  this  tradition  ?  Negri  adds  that  other 
works  by  the  Spanzotti  were  known  to  have  existed  in  Casale  and  the 
neighbourhood ;  but  they  perished  in  the  various  sieges  of  the  city  : 
notably  that  in  1645,  when  General  Covonges  conveyed  away  to  Carrate 
in  France  many  art  treasures  that  have  long  since  disappeared. 


50  EARLY  YEARS  AND  APPRENTICESHIP 

original.  The  upper  panels,  with  the  Virgin  and 
the  Archangel  Gabriel,  both  reveal, — the  Madonna 
especially, — distinct  traces  of  the  manner  of  Martino 
himself,  such  as  we  observe  it  in  his  single  known 
work.  The  predella  comprises  three  small  tondi 
of  inferior  merit,  representing  the  Ecce  Homo, 
the  Virgo  Gloriosa,  and  the  Archangel  Michael 
respectively.  The  painting  is  2 '20  metres  high 
by  r6o  metres  wide,  and  robbed  of  the  original 
frame,  the  several  parts  are  now  divided  by  shabby 
headings. 

One  more  painting  may  possibly  have  come  from 
the  same  source  :  a  Pietii,  part  of  a  much-restored 
polyptych  in  the  church  of  the  Gesu  at  Casale.  It 
bears  many  of  the  same  characteristics,  and  the 
angels  have  the  same  large  heads. 

The  Attnimcialion  painted  in  two  lunettes^  is  all 
that  remains  of  a  number  of  windows  destroyed  in 
a  storm  at  the  end  of  the  eighteenth  century.  The 
fragments  were  at  one  time  kept  in  the  Sacristy  of 
the  votive  church  of  the  Santuario  at  Crea,  near 
Casale,  Monferrato,  and  are  still,  it  is  believed, 
housed  there.  All  things  considered,  we  believe 
that  Negri  proposes  no  unreasonable  theory  in 
suggesting  them  to  be  the  work  of  the  ''  unknown 
painter  on  glass!' 

Who  Maestro  Martino's  teacher  was,  we  know 
not,  but  it  is  clear  that  his  training  in  the  tradi- 
tions of  the  ''Arte''  of  painting,  as  understood  at 
that  day,  was  thorough  and  complete ;  and  it  is, 
moreover,  most  probable  that  a  desire  for  further 
improvement  brought  him  to  Vercelli.     It  is  a 

^  Negri,  Op.  ctt,  p.  14. 


SPANZOTTO'S   INFLUENCE  51 

somewhat  remarkable  fact  that  this  small  town 
should,  in  those  days,  have  attracted  so  many  artists 
of  merit ;  for  that  the  Vercellese  School  was  also  in 
close  touch  with  those  of  Lombardy  and  Venetia 
is  evident  from  the  many  records  of  painters  from 
those  parts  who  worked  there,  and  at  Casale. 

That  Martino's  influence  on  his  pupils  was  a 
marked  one  is  clear  from  the  close  affinity  (first 
observed  by  Mr.  Berenson)  between  Bazzi  and 
Defendente  Deferrari ;  artists  whose  aims  and 
achievements  at  first  sight  appear  so  widely  dif- 
ferent. We  have  therefore  deemed  it  imperative  to 
dwell  at  some  length  upon  Spanzotto's  history  and 
work.  The  resemblance  is  more  readily  felt  than 
defined  in  the  few  pictures  so  far  traced  to  the 
master ;  but  the  dignified  simplicity  so  character- 
istic of  his  Madonnas  is  perhaps  recalled  in  some 
of  Bazzi's  more  soberly  conceived  female  heads. 
Whatever  may  have  been  the  pupil's  artistic  in- 
equalities and  defects  in  after  years,  his  taste 
and  eye  had  clearly  been  correctly  trained  at  the 
outset ;  and  he  owed  a  large  debt  of  gratitude  to 
Maestro  Martino  for  developing  in  him  that  intense 
feeling  for  beauty  which  is  so  vividly  reflected  in 
all  his  work.^ 

^  We  would  here  draw  attention  to  a  curious  remark  made  by  a  recent 
writer  (Pietro  Rossi,  "  II  Sodoma  "  nelV  Arte  Senese.  Estratto  dal  Bullet- 
tino  Senese  di  Storia  Fatria,  Anno  X.  fasc.  ii. :  Siena,  1903,  p.  7). 
He  states  that  Bazzi  was  ^^educato  per  lunghi  anni  da  un  maestro  lom- 
bardo  delta  scuola  di  Foppa."  Now  there  is  nothing  whatever  to  show 
that  Martino  Spanzotto  himself  ever  belonged  to  the  School  of  Foppa. 
But,  as  Morelli  {Op.  cit.,  pp.  411-12,  note  2)  remarks,  Gian  Giacomo  de 
AUadio  (commonly  known  as  "  Macrino  d'Alba  "),  a  well-known  pupil  of 
Vincenzo  Foppa,  was  working  for  some  length  of  time  in  Vercelli  during 
the  last  decade  of  the  fifteenth  century,  and  unquestionably  impressed 


52  EARLYYEARS  AND  APPRENTICESHIP 

Thepowerful  influence  of  Leonardo  (then  working 
in  Milan)wasdoubtIessalsofeIt  in  the  neighbouring 
Art-centre  of  Vercelli,  and  perhaps  his  drawings 
may  even  have  reached  that  town.  But  whether 
Bazzi  ever  actually  was  Da  Vinci's  pupil  is  quite 
uncertain.  We  know  that  the  great  Florentine's 
example  exercised  strong  effect  upon  artists  like 
Bernardino  Luini,  who  certainly  never  came  under 
his  direct  training  ;  and  the  same  may  therefore 
have  been  the  case  with  the  young  Bazzi.  Just  as 
a  few  years  later  in  Siena,  Bazzi  set  himself  to  make 
copies  from  the  sculptures  of  that  greatest  of  the 
Sienese  Masters,  Giacomo  della  Quercia,  so  also 
may  he  have  previously  studied  the  works  of  Leon- 
ardo da  Vinci.  We  also  know  that,  when  he  came 
to  Siena  under  the  auspices  of  the  Spannocchi,  he 
had  already  acquired  a  distinct  style  of  his  own, 
which  enabled  him  at  once  to  obtain  employment 
and  speedily  achieve  considerable  repute. 

In  spite  of  Marchese  d'Azeglio's  statement  to 
the  contrary,^  Bazzi  left  no  incontrovertible 
traces  of  work  in  his  native  city.^     It  has  been 

certain  marked  characteristics  of  his  master's  teaching  on  the  painters  of 
that  school :  one  of  the  most  noticeable  of  these  being  "  the  canopy," 
so  frequently  introduced  by  Bazzi  into  his  compositions,  and  still  more 
frequently  employed  by  the  later  Vercellese  masters. 

^  Marchese  Roberto  d'  Azeglio,  Za  i?,  Galleria  di  Torino  Illusfrata, 
vol.  iv.  :  ''''  Ivarii  di  lui  dipintia  olio  e  a  fresco,  che  adornano  i  teittpli  ed  i 
palazzi  della  Provincia  Vercellese,  danno  /'  ultimo  compimento  alia  dimo- 
strazione,  provando,  essere  gia  giunto  questo  pittore  a  maturita  d^  ingegno 
quando  condiiceasi  a  Siena." 

2  In  November  1895,  at  the  sale  in  Milan  of  the  Scarpa  Gallery  of 
Paintings,  from  Motta  di  Livenza,  Cav.  Aw.  Antonio  Borgogna  of 
Vercelli  purchased  a  most  interesting  tondo  panel  by  Bazzi, — till  then 
attributed  to  Cesare  da  Sesto, — and  placed  it  in  his  private  collection. 
Thus  one  picture  by  the  master  now  hangs  in  his  native  town.  Cf. 
post.  p.  69,  note  3. 


>^ 


^        OFTH£     ^'r' 

OF 

-F0RT4Vj> 


ANGELINA    BAZZI  53 

suggested^  that  the  ceiling  of  the  ground-floor 
saloon  in  the  Palazzo  Tizzoni  at  Vercelli,  behind 
S.  Giuliano  (now  the  small  but  rapidly  growing 
Istituto  di  Belle  Arti),  may  be  due  to  his  brush,  but 
the  inferiorityof  the  workmanship  and  the  stamp  of 
a  later  epoch,  set  unmistakably  upon  the  work  in 
question,  deprive  the  proposition  of  more  than 
anecdotic  interest.  All  we  know  is,  that  after  his 
father's  death  in  1497,  Bazzi  left  his  native  city ; 
and  we  have  no  proof  that  he  ever  returned  thither, 
even  when,  as  is  probable,  he  did  revisit  Northern 
Italy  between  15 19  and  1525. 

We  know  that  Angelina  Bazzi  survived  her 
husband  many  years ;  that  their  only  daughter 
Amedea  had,  previous  to  her  father's  death,  married 
one  Giovanni  Pietro  (surname  unknown),  taking 
with  her  a  marriage  portion  of  100  Milanese 
florins  (=  320  francs  approximately);  and  that  the 
extravagance  of  Niccol6 — who  did  not  come  of 
age  until  after  January  31st,  1502 — made  serious 
inroads  upon  his  mother's  estate.  From  the  time, 
however,  of  Giacomo  Bazzi's  death  in  1497,  there  are 
but  two  allusions  extant  to  their  elder  son  Giovanni 
Antonio.     In  the  former  of  these,^  he  is  spoken  of 

1  Conte  Carlo  Emanuele  Arborio  Mella,  Allocuzione  (Nella  solenne 
prima  distribuzione  dei  premi  alii  alunni  della  scuola  gratuita  di  disegno 
nella  sala  del  Palazzo  Civico  di  Vercelli  li  8  Novembre,  1842.  Vercelli, 
Tip.  Ceretti),  p.  28. 

For  a  description  of  these  frescoes,  cf.  Bruzza,  Op.  cit.,  p.  42  e  seg. 

2  Archivio  detto.  7  Decembris,  1501.  Giovan  Giacomo  de  Riciis^ 
R.  8,  Not.  6,  fol.  66.     Prot.,  n,  3,  fol.  54. 

"...  quos  florenos  (triginta)  prefata  Angelina  exposuit  in  utilitatem 
et  comodum  Nichole  ejus  filii  .  .  .  conveniunt  .  .  .  quod  si  contingerit 
ipsum  Nicholam  succedere  in  bonis  Johannis  Antonii  ejus  fratris  absentis, 
(aut  aliter  dicta  bona  habere  seu  possidere)  eo  casu  voluit  et  vult  et  ita 
Qonyenit  .  .  ,  ideii^  Nichola  prefate  ejus  matri  presenti  et  acceptant^ 


54  EARLY  YEARS  AND  APPRENTICESHIP 

as  being  absent ;  and  Angelina,  in  contemplation 
of  the  contingency  (for  which  she  must  have  had 
some  good  reason)  of  his  absence  becoming  perma- 
nent,— through  any  cause  whatsoever, — consents, 
subject  to  certain  charges  for  her  own  benefit,  to 
her  son  Niccol6  dealing  with  his  brother's  pro- 
spective share  of  their  patrimony.  The  second  deed 
bears  date  less  than  two  months  later,^  and  therein 
Angelina  de  Bazis,  after  reciting  the  names  of  all 
her  three  children  (putting  however  ^\zzo\b  first), 
expressly  states  that  the  conveyance  in  question  is 
made  with  the  consent  of  Niccolo  and  Amedea  only. 
These  deeds  would  seem  to  infer  that  for  some 
unknown  reason  Giovanni  Antonio,  though  still 

quod  ipsa  mater  possit  et  voleat  ejus  propria  auctoritate  ac  sine  licentia 
alicuius  judicis  vel  rectoris  et  absque  aliquarum  penarum  incursu  appre- 
hendere  possessionem  ac  tenutam,  tot  de  bonis  predictis,  usque  ad 
concurrentem  summam  praedictorum  florenorum  iriginta.  .  .  ."  Cf. 
Faccio,  Op.  cii.,  p.  220. 

^  Archivio  detto.  Notar.  Enrico  De  Balbis.  Prot.  B.  4,  n.  3, 
fol.  146-8.  "  1502  ultimo  mensis  januari  in  vicinia  ecclesie  Sancte  Marie 
Majoris.  .  .  .  Angelina  uxor  quondam  magriyar<?(^/^^<^azw  de  blandrate 
tutrix  et  curatrix  ac  tutorio  et  curatorio  nomine  Nichole  Joanne  Antonio 
et  Atnedee  filiorum  ipsius  Angelina  et  dicti  quondam  magri  Jacobi  prout 
de  dictis  tutela  et  cura  constat  instrumento  testamenti  tradito  et  fieri 
rogato  per  me  notar.  infrascrip.  et  dicti  Nichola  et  Amedea  ejus  filiis 
mutuis  consensibus  sponte  et  ex  eorum  certa  sciencia  ac  animis  de- 
liberatis  .  .  .  fecerunt  et  faciunt  vendicionem  et  datum  prefato  no. 
Antonio  de  la  Strata  .  .  .  de  pecia  una  terre  culte  et  plantate  stariorum 
duorum  jacente  super  finibus  Vercellarum  ubi  dicitur  ad  viatn  peloxam 
sive  ad  ruose  (?)  fantinorum  cui  coheret  .  .  .  pro  qua  vendicione  ac  pro 
vero  et  justo  precio  fuerunt  confessi  et  contenti  a  dicto  emptore  florenos 
viginti  septem  cum  dimidio  medio),  valent.  ad  ration,  libror,  trium  et 
solidor.  quatuor  terciolor.  pro  quolibet  floreno  .  .  .  quam  vendicionem 
et  omnia  et  singula  suprascripta  dicta  Angelina  et  Amedea  ac  dictus 
Nichola  venditore  eidem  no.  Antonio  de  la  Strata  .  .  .  jurantesque 
manibus  ipsorum  Angeline  et  Amedee  et  ac  ipsius  Nichole  tactis  scrip- 
turis  prestiterunt  .  .  .  et  dictus  Nichola  p.  mediante  ejus  iuramento 
predicto  cum  esset  minor  vigintiquinque  annis  bene^cio  minoris  etatis." 


NICC0L6    BAZZI  55 

under  age, had  bythattimeleftVercelli,andvirtually 
severed  all  connection  with  his  family  and  home. 

From  the  same  documentary  source  we  learn 
that  in  1499,^  while  apparently  still  a  minor, 
Niccolo  contracted  to  marry  Caterina,  daughter  of 
Maestro  Giovanni  Battista  del  Ubertino  Bossi,  of 
Chieri,  who  brought  him  a  dowry  of  140  florins 
in  money,  goods  and  houses.  Three  children,  the 
issue  of  this  marriage,  were  born  ten,  thirteen,  and 
fourteen  years  later.^  In  1507  we  find  Niccolo 
appointing  Ser  Giacomo  de  Raspi,the  noble  Giovan 
Andrea  Vialardi,  Bernardino  di  Carisio  and  Giovan 
Giorgio  di  Biandrate  to  act  for  him  as  proctors  in  a 
lawsuit.  The  deed  ^  in  question  informs  us  that  he 
continued  to  exercise  his  father's  calling  of  shoe- 
maker, and  the  names  of  his  representatives  stand 
warrant  of  their  social  position.  They  were  perhaps 
old  friends  of  his  family,  since  one  at  least  was 
a  native  of  Biandrate.  Here  we  lose  sight  of  the 
Bazzi  household ;  and  our  interest  henceforth 
centres  exclusively  in  that  member  of  the  family, 
through  whose  fame  alone  their  name  is  rescued 
from  oblivion. 

^  Archivio  Civicodi  Vercelli.  18  Marzo,  T499.  Not.  Guglielmo  de 
Lonate.  L.-6.  Not.  25,  fol.  55.  In  this  document  the  scribe  has  written 
by  mistake  "  Bartolo7n7neo"  instead  of  Giovan  Battista.  19  Giugno, 
1501.  Not.  Enrico  de'  Balbis,  Prot.  B. — 4,  Not.  5,  fol.  146. 

It  is  a  fact  worth  noting  that  these  two  documents  are  more  than  two 
years  apart  in  point  of  date.  The  first  speaks  of  an  intended  marriage, 
the  latter  of  a  completed  one,  but  there  appears  to  have  been  no  issue  until 
1510. 

2  Libri  degli  Battezzati.  Chiesa  di  Sta.  Maria  Maggiore,  Vercelli. 
Giacomo,  hapthed  June  i6th,  1510;  Lucrtzia,  March  2nd,  1513;  and 
Angelina,  August  22nd,  15 14. 

^  Archivio  detto.  23  Ottobre,  1507.  Not.  Antonio  de  Pessinis,  P.  lOj 
Not.  II,  fol.  144. 


CHAPTER   III 

EARLY   WORK   IN   SIENA 

We  now  come  to  the  parting  of  the  ways  in  the 
life  of  our  hero  :  the  stage  whence  Vasari  takes 
up  the  thread  of  his  history :  and  it  seems  strange 
that  apparently  all  that  the  Tuscan  writer  was  able 
to  discover  about  his  subject,  prior  to  the  arrival 
of  the  latter  in  Siena,  should  be  contained  in  the 
few  words  stating  that  his  birthplace  was  Verzelli. 
This  fact, — though  it  became  the  fashion  later 
on  to  contradict  the  biographer, — we  know  now 
that  he  was  perfectly  correct  in  placing  in  the 
forefront  of  his  narrative.  Vasari  goes  on  to 
inform  us  (perhaps  reluctantly)  that,  having 
imbibed  to  the  fullest  extent  most  of  the  better 
characteristics  of  the  Lombard  School,  the 
young  artist  was  induced  to  come  to  Siena  by 
some  agents  of  the  Spannocchi  family,  who,  as 
bankers  and  merchants,  had  one  of  their  counting- 
houses  in  the  Lombard  capital.^ 

In  1 499- 1 500  the  Duchy  of  Milan  was  plunged 
into  the  direst  confusion.  Overrun  by  French 
troops :  its  pleasure-  and  art-loving  Duke,  Lodovico 

^  Cf.  Vasari,  Op.  cit.,  p.  379,  note.  These  were  Giulio  and  Antonio, 
sons  of  Ambrogio  Spannocchi,  Treasurer  to  Pope  Pius  II.,  who  in  1470 
had  built  the  magnificent  palace  in  Siena  (now  the  Post  Office)  from 
the  plans  of  Giuliano  da  Maiano.  This  powerful  family  had  counting- 
houses  in  Rome,  Lombardy,  and  elsewhere. 

56 


FIRST   APPEARANCE    IN    SIENA      57 

Sforza  {il  Moro),  an  exile  and  a  prisoner ;  his  gay 
court  broken  up :  all  those  learned  and  cultured 
personages,  whose  talents  had  combined  to  shed  an 
unexampled  lustre  upon  the  scene,  were  dispersed 
to  the  four  winds  of  heaven.  The  great  Leonardo, 
his  favourite  projects  still-born  or  compulsorily 
abandoned,  had  returned  (1501)  to  his  native  Tus- 
cany ;  and  his  gladsome  bevy  of  pupils,  Giovanni 
Antonio  Boltraffio,  Cesare  da  Sesto,  Marco  d'Oggi- 
ono,  Andrea  Salario,  Andrea  Salaino,  and  the  rest, 
had  gone  their  several  ways.  The  amiable  dis- 
position and  high  artistic  promise  of  the  young 
Bazzi  evidently  attracted  the  attention  of  these 
patrons  ;  and  he  was  probably  nothing  loth  to  seek 
new  fields  for  his  ambition.  The  hold  that  Siena 
thus  secured  upon  his  affections  was,  as  we  know, 
strong  enough  to  assure  his  lifelong  allegiance ;  and 
the  Sienese  admiration  for  and  pride  in  their  painter 
grew  as  though  he  had  really  been  born  one  of 
their  kith  and  kin  ;  an  attitude  of  mind,  indeed, 
that  induced  so  many  of  their  writers  to  endeavour 
by  plausible  though  ineffective  argument, — even 
in  at  least  one  case  by  deliberate  falsehood, — to 
prove  him  to  have  been  actually  a  son  of  her  soil. 
Our  friend  Vasari,  moralising  in  Pecksniffian 
fashion,  and  adopting  a  tone  rather  more  worthy 
of  a  homily  than  an  historical  or  artistic  essay 
in  criticism ;  while  founding  most  of  his  text,  as 
we  shall  in  due  course  observe,  upon  his  vivid 
imagination  alone ;  next  proceeds  to  tell  us  that 
Bazzi  ^  "  being  brought  to  Siena  .  .  .  his  good 
or  evil  fortune  willed  that  he  should  find  for  a 

1  Cf,  Vasari,  O^.  cit.,  pp.  379-80. 


58  EARLY   WORK    IN    SIENA 

time  no  competition  there  and  worked  alone :  that 
which  might  have  been  of  use  to  him  was  in  the 
end  an  injury ;  for,  as  if  asleep,  he  never  studied, 
but  did  most  of  his  jobs  by  rule  of  thumb  "  {per 
pratica').  Then  comes  the  important  passage:  "and 
if  he  did  work  a  little,  it  ivas  only  in  drawing  some 
of  the  works  of  Jacopo  delta  Fonte  which  were 
considered  of  value,  and  little  else."  One  is  tempted 
to  ask  what  better  study  could  he  have  undertaken? 
There  were  really  no  other  models  then  existing 
in  Siena  for  a  disciple  of  Leonardo  to  turn  to  for 
study  and  example.  He  could  scarcely  be  expected 
to  copy  the  style, — charming  as  we  consider  it 
to-day, — of  the  early  Sienese  Masters,  nor  could 
they  have  taught  him  anything  that  he  had  not 
already  learnt  elsewhere.  On  the  other  hand,  it 
is  clear,  from  such  of  his  extant  paintings  as  fall 
within  this  period,  that  he  must  have  assimilated 
some  portion  at  least  of  the  spirit  of  the  Umbrians 
then  at  work  in  the  city.  In  no  other  way  can 
the  reflection  of  their  style  observable  in  his  work 
be  satisfactorily  accounted  for  or  explained. 

Vasari  next  tells  us  of  certain  portraits  in 
which  he  clearly  recognises  Lombard  methods  of 
colour  and  drawing. 

That  Bazzi  loved  to  represent  real  people  is  so 
evident  as  not  to  admit  of  doubt.  His  Monte 
Oliveto  frescoes  teem  with  portraits,  and  many 
of  his  Saints  are  obvious  likenesses  of  the  people 
he  met  with  in  daily  intercourse.  In  one  case 
certainly  :  although  the  illustration  is  taken  from  a 
later  period  in  his  career, — the  beautiful  painting  of 
the  Madonna  and  Child,  in  the  possession  of  the 


Photo :  Jiritckvzann. 


PORTRAIT   OF   A  LAUY. 


STADEI.  GALLERY,  FNANKFURT  A/M. 


To  /ace  /.  59. 


EARLY    PORTRAITS  59 

Ginoulhiac  family  in  Milan, — is  clearly  the  like- 
ness of  A  Lady  and  her  Baby.    With  but  one 
exception  there  are,  however,  no  portraits,  as  such, 
that  we  can  definitely  assign  to  this  period  among 
the  paintings  which  have  come  down  to  us.     A  list 
of  the  goods  and  chattels  left  at  his  death  ^  mentions 
a  number  of  specimens  of  this  branch  of  his  art. 
Among  them  we  find  one  of  Pandolfo  Petrucci, 
two  of  ladies  of  the  Saracini  and  Toscani  families 
respectively,  and  a  "sketch  "of  the  ''Archbishops 
All  these  have  unfortunately  disappeared.^     The 
one  exception  is  the  portrait  traced  by  Morelli,^  now 
in  the  Stadel  Gallery  at  Frankfurt  a/M.  (No.  42). 
It  is  a  superb  work :  a  half-length,  painted  with 
extraordinary  care  and  finish.     A  stately  and  beau- 
tiful gentlewoman  is  seated  beside  an  open  window, 
through   which   the   distant   view   of    a   smiling 
landscape  takes  immediate  hold  of  the  spectator's 
imagination.    A  heavy  green  curtain,  faintly  gleam- 
ing with  gold  embroidery,  forms  the  background. 
Her  left  arm  rests  upon  a  small  table  decked  with 
an  embroidered  cloth,  and  in  her  hand  she  grasps 
the  richly  ornamented  handle  of  a  black  feather  fan. 
In  her  right  hand  she  holds  a  pair  of  gloves.     Her 
dress  consists  of  some  rich  dark  sea-green  velvety 

1  Archivio  Notarile  Provinciale  di  Siena.  1548-9,  14  di  Feb- 
braio.  Rogiti di Ser  Luca  Mariano  Salvitii  (V  Asciano,  No,  2386.  Rep,  A, 
Busta  941, 

^  But  we  fail  to  see  why,  because  these  pictures  happen  to  be  portraits, 
writers  should  assume  that  they  7nust  have  been  painted  at  this  period,  as 
though  the  artist  had  subsequently  given  up  portrait  painting.  It  seems, 
on  the  contrary,  extremely  improbable  that  he  would  keep  portraits  on 
his  premises  for  forty-five  years  or  more. 

^  Giovanni  Morelli,  Delia  Fittura  Italiana.  Milano  :  Fratelli  Treves, 
1897,  p,  155,  and  note  i ;  and  Frizzoni,  Op.  cit.,  p,  123. 


6o  EARLY   WORK    IN    SIENA 

material,  trimmed  with  bands  of  a  lighter  shade  ; 
and  a  bodice  with  full  sleeves,  cut  very  low,  meets 
an  exquisitely  fine  muslin  kerchief,  worked  at  the 
edge,  drawn  over  her  neck  and  shoulders.  The 
oval  face,  with  straight  nose,  dark-brown  eyes  and 
wavy  auburn  hair,  is  crowned  by  a  sort  of  coif  sewn 
with  seed  pearls ;  whilst  a  great  deal  of  handsome 
jewellery  adorns  the  person  of  this  noble  lady,  whose 
lips  have  never  disclosed  the  secret  of  her  identity. 
This  picture,  long  attributed  to  Sebastiano  del 
Piombo,  whose  name  still  remains  on  the  frame,  was 
said  to  represent  the  celebrated  Giulia  Gonzaga, 
wife  of  Vespasiano  Colonna.^  Other  critics  have 
given  the  painting  to  Paris  Bordone^;  whilst  the 
present  Director  of  the  Gallery,  Herr  Weizsacker,^ 
accords  the  authorship  to  Parmigianino.  We  prefer 
Morelli's  opinion,  and  the  following  facts  assist, 
even  if  they  do  not  altogether  prove,  the  correct- 
ness of  our  view.  The  costume  and  the  jewellery, 
— notably  the  earrings,^ — are  Sienese,  and  the  cast 
of  countenance  is  distinctly  Sienese  also.  The 
argument  against  the  Bazzi  attribution  postulates 
that  this  artist  never  before  nor  afterwards  painted 
a  picture  so  fraught  with  minute  attention  to 
details.  Now,  if  it  may  with  some  probability 
be  suggested  that  the  lady   in   question   was   a 

^  Bnito  Amanti,  Giulia  Gonzaga,  Contessa  di  Fondi.  Zanichelli, 
Bologna,  1896. 

^  LArte.     Maggio,  1900,  p.  285. 

^  Heinrich  Weizsacker,  Catalog  der  Gemdlde  Galerie  des  Stddelschen 
Kunst-instituts  im  Frankfurt  ajM.:  Frankfurt  a/M.,  1900;  pp.  256-8. 
Dr.  Bode  attributes  it  to  Jan  Scorel  {Repertorium  filr  Kunstwissen- 
schaft,  xii,,  Heft  i,  p.  72);  Burckhardt  to  Dosso  Dossi. 

*  Earrings  of  this  shape  are  still  commonly  worn  by  well-to-do  peasant 
women  in  the  Senese. 


FAME   AS   A   DRAUGHTSMAN         6i 

Spannocchi,  what  more  likely  contingency  than 
that  the  youthful  painter,  invited  to  Siena  by  such 
munificent  patrons,  did  take  special  pains  with  a 
portrait  commissioned  by  one  of  these  personages, 
his  benefactors  ;  not  only  from  a  natural  sense  of 
gratitude,  but  in  order  also  to  better  display  his 
artistic  abilities  ?  Not  merely  do  the  jewellery  and 
masterly  reproduction  of  detail,  wonderful  though 
they  be,^  speak  for  themselves  and  reveal  the  real 
authorship,  but  the  very  brilliance  and  force  of  the 
picture  itself — both  characteristics  in  which  our 
artist  admirably  excelled  ^ — tell  their  story. 

Even  Vasari  finds  himself  compelled  to  admit 
that  our  painter  was  a  draughtsman  of  more  than 
ordinary  skill.  In  his  ''Life  of  Beccafumi''  he 
states  that  this  artist,  whose  own  work  he  admires 
so  much,  was  drawn  back  to  his  native  city  by  the 
fame  '  *  del gr ait  fondamento  7iel  disegno  "  possessed 
by  Bazzi,  under  whose  training  he  for  a  time  put 
himself.^  And  in  another  passage  he  proceeds  to 
describe  in  glowing  terms  a  drawing  in  his  own 
possession  ^  for  the  Swoon  of  S.  Calherine. 

And  now  we  reach  the  crux  of  Vasari's  worst 

^  The  miniature-like  landscape  in  his  Deposition  in  the  Siena  Academy, 
.to  which  Miss  Lucy  Olcott  draws  attention  {Giiide  to  Siena,  p.  336: 
Torrini,  Siena,  1903),  is  another  example,  and  in  all  probability  a  con- 
temporary one,  of  Bazzi's  ability  to  paint  details  when  he  was  so  minded. 

^  Dr.  Jacobsen,  supported  by  Frizzoni  {Rassegna  d'Arte,  August 
1904,  pp.  1 13-16),  proposes  the  theory  that  the  beautiful  red  chalk 
drawing  of'^Zfl^"  in  the  Uffizi  (Case  103,  No.  414),  generally  attributed 
to  Leonardo, — and  by  Mr.  Berenson  {Drawings  of  the  Florentine 
Painters,  vol.  i.  p.  393  :  London,  John  Murray,  1903)  to  Pontormo, — is 
by  Bazzi,  and  a  portrait  of  this  same  lady. 

^  Vasari,  Op.  cit.,  vol.  v.  p.  635. 

*  Vasari,  Op.  cit.,  vol.  vi.  p.  394.  A  drawing  (No.  268,  T.  30)  in  the 
Uffizi  Portfolios  may  even  be  the  sketch  in  question. 


62  EARLY  WORK   IN    SIENA 

accusations  against  our  hero.  But  what  on  close 
examination  do  they  really  amount  to  ?  A  lively, 
pleasure-loving  lad  of  three-and-twenty,  comes 
straight  from  the  atmosphere  of  a  gay  and  brilliant 
court,  and  the  influences  of  an  Art  School  where 
the  joy  of  life  ruled  supreme  ;  a  school  in  which 
beauty,  especially  that  of  the  male  sex,  was  held  in 
the  highest  favour.^  There  boys  and  youths  stood 
as  models,  not  only  for  angels  and  youthful  con- 
fessors, martyrs  or  warrior  saints,  but  also  for  the 
Madonna  and  holy  virgins.^  Would  not  such  a 
youth  naturally  follow  Leonardo  da  Vinci's  artistic 
example  ;  even  if  his  age  had  not  predisposed  him 
to  seek  and  prefer  the  company  of  his  contem- 
poraries? What  more  natural  than  that  these 
light-hearted  young  people,  brimming  over  with 
the  high  spirit  of  youth,  should  indulge  in  song,  or 
"  play  on  lutes,"  and  at  times  perhaps  allow  their 
mirth  to  outstrip  the  bounds  of  strict  decorum? 
Is  youth  so  different  nowadays?^ 

^  The  reader  may  be  referred  to  an  historical  novel  by  Dimitri 
Merejkowski,  variously  entitled  Leonardo  da  Vinci  or  The  Forerunner. 
Even  if  the  novelist  has  let  his  imagination  run  riot  to  some  extent,  the 
picture  he  paints  is  not  without  many  elements  of  truth,  and  enables  one 
to  realise  the  sort  of  company  in  which  the  most  impressionable  years  of 
our  artist's  life  were  spent.  The  strong  hold  that  Leonardo  obtained  over 
the  spirit  of  all  who  came  in  contact  with  him,  has  left  its  indelible  mark 
on  their  work,  even  to  producing  an  almost  exaggerated  similarity  in  their 
creations,  which  often  becomes  the  despair  of  the  art-critic. 

^  Not  only  was  this  the  case  with  Leonardo  and  his  followers,  but 
many  of  the  extant  drawings  of  other  great  artists  prove  this  beyond 
dispute.  A  well-known  sketch  for  a  Coronation  of  the  Virgin^  now  in  the 
Musee  Wicar  at  Lille,  is  a  good  example.  Cf.  Eugene  Miintz,  Raphael 
(trans,  by  W.  Armstrong) :  London,  Chapman  &  Hall,  ed.  1896,  p.  32. 

^  It  is  worth  noticing  that  Monsignor  Mancini, — quoted  by  several 
subsequent  authors, — endeavours  to  defend  Bazzi's  character  by  implica- 
tion ;  dilating  on  the  physical  ugliness,  and  even  deformity,  of  some  of 
his  best-known  companions  and  pupils. 


LOVE   OF   ANIMALS  63 

His  fondness  for  animals  and  his  "Noah's  Ark," 
which  Vasari  condemns  so  severely,  is  surely  no 
crime.  The  passage  from  Vasari, — himself  no 
lover  of  dumb  beasts,  as  we  may  guess  from 
the  use  of  the  term  bestiaccie  in  his  description 
of  Bazzi's  menagerie, — reads  so  delightfully,  and 
gives  a  picture  of  so  amiable  a  character,  that 
we  cannot  do  better  than  quote  it  in  full.  We 
read^  that — 

"  he  loved  to  have  in  his  house  all  sorts  of  odd  animals — 
badgers,  squirrels,  monkeys,  apes,  dwarf-monkeys,  barbs 
to  run  races,  little  horses  from  Elba,  jays,  dwarf-hens 
(bantams),  Indian  turtledoves,  and  other  similar  animals — 
as  many  as  ever  he  could  procure.  But  besides  all  those 
things,  he  had  a  raven  which  he  had  taught  to  speak  so 
well  in  many  things,  that  it  imitated  his  own  voice,  and 
particularly  in  answering  if  anyone  knocked  at  the  door, 
so  well  that  it  seemed  to  be  Giovannantonio  himself,  as  all 
the  Sienese  knew  very  well.  In  the  same  way  all  the  other 
animals  were  so  tame  that  they  always  lived  in  the  house 
with  him,  making  the  maddest  games  and  the  strangest 
performances  in  the  world,  so  much  so  that  his  house 
appeared  to  be  a  veritable  Noah's  Ark." 

The  ruling  passion  throughout  our  artist's  life 

^  Vasari,  Op.  cit.,  pp.  380-81 :  "  Dilettossi  ....  d'aver  per  casa  di  piti 
sorte  stravaganti  animali ;  tassi,  scoiattoli,  bertuccie,  gatti  mammoni,  asini 
nani,  cavalli  barbari  da  correr  palj,  cavallini  piccoli  dell'  Elba,  ghiandaie, 
galline  nane,  tortole  indiane,  ed  oltri  si  fatti  animali,  quanti  gliene 
potevano  venire  alle  mani.  Ma,  oltre  tutte  queste  bestiaccie,  aveva  un 
corbo,  che  da  lui  aveva  cosi  bene  imparato  a  favellare,  che  contrafaceva 
in  molte  cose  la  voce  di  Giovannantonio,  e  particolarmente  in  rispondendo 
a  chi  picchiava  la  porta,  tanto  bene,  che  pareva  Giovannantonio  stesso, 
come  benisimo  sanno  tutti  i  Sanesi.  Similmente  gli  altri  animali  erano 
tanto  domestichi,  che  sempre  stavano  intorno  a  lui  per  casa,  facendo  i 
piii  strani  giuochi  ed  i  piii  pazzi  versi  del  mondo ;  di  maniera  che  la  casa 
di  cestui  pareva  proprio  I'arca  di  Nob." 


64  EARLY  WORK  IN  SIENA 

would  seem  to  have  been  this  love  of  animals.^ 
He  frequently  introduces  them  into  his  pictures, 
notably  in  connexion  with  his  own  portrait  at 
Mont'  Oliveto  ;  and  his  delineation  of  a  prancing 
charger  won  him  the  special  commendation  of 
the  Emperor  Charles  V.  His  horses  competed 
worthily  with  the  racing  stables  of  the  wealthiest 
nobles  and  merchant  princes  of  the  day ;  the 
Mont'  Oliveto  ledgers  contain  numerous  references 
to  Bazzi's  pets ;  and  a  hapless  monkey  shared  in 
the  rough  reception  accorded  to  his  master  at  the 
Race  Meeting  in  Florence.  We  surely  can  sym- 
pathize with  him  here.  So  unusual  a  trait  strikes 
a  note  of  peculiar  charm  in  our  estimate  of  this 
much-abused  individual's  character.  Vasari  goes 
on  to  say  that,  notwithstanding  his  menagerie,  he 
did  manage  to  do  some  good  work,  which  got 
him  a  ''sort  of  reputation"  with  the  Sienese.  He 
promptly  qualifies  this  grudging  word  of  praise 
with  '*  that  is  to  say,  with  the  people  and  the 
common  herd  (because  gentlemen  \gentiluomint\ 
knew  him  as  he  was),  so  that  he  was  considered 
by  many  a  great  man."  The  writer  had  begun, 
let  us  observe,  by  telling  us  that  Bazzi  was  brought 
to  Siena  by  the  Spannocchi,  a  family  who  were 
admittedly  among  the  leading  personages  of  that 
city.  We  know  that  he  was  employed  to  paint  their 
portraits,  and  we  shall  presently  see  that  another 
great  family,  the  Savini,  commissioned  him  to  paint 
two  sacred  subjects  for  them.  In  his  next  breath 
Vasari  informs  us  that  many  of  the  animals  in  the 

^  Even  in  the  list  referred  to  above,  of  property  left  at  his  death,  we 
find  a  ^^ parrot  in  its  cage." 


Photo :  //.  Burton. 


MADONNA  AND   CHILD. 

RICHTER   COLLECTION,    LONDON. 

(BEFORE   RESTOR.\TION.) 


To  /ace  p.  65. 


Photo:  Braiiii  Clement  &■  Cie. 


THE   SAME. 
(AFTER    RESTORATION.) 


To  /ace  p.  65. 


NICKNAME    OF    "IL    MATTACCIO"    65 

Noah's  Ark  came  from  Elba :  gifts  perhaps  from 
Jacopo  V.  d' Appiano,  Prince  of  Piombino,  who,  until 
his  death  in  1546,  remained  Bazzi's  most  generous 
protector.  The  animals  were  probably  the  original 
"  bond  of  sympathy"  ;  but  whether  the  acquaint- 
ance had  already  commenced  at  this  early  stage  of 
the  painter's  career,  we  have  no  means  of  ascertain- 
ing. This  much,  however,  is  evident ;  and  Vasari, 
in  spite  of  himself,  makes  it  clear  to  us  that  even 
then  it  was  not  merely  the  common  herd  whom 
Bazzi  had  succeeded  in  pleasing,  but  also  personages 
of  rank  and  position.^  Moreover,  be  it  noted  that 
he  had  likewise  attracted  the  attention  of  the  heads 
of  the  religious  communities  in  and  around  Siena. 

We  would  here  once  more  earnestly  remind  our 
readers  that  there  is  no  documentary  evidence  of  any 
kind  to  show  that  during  these  early  years  Bazzi 
bore  any  nickname  whatsoever.  The  first  sobriquet 
that  we  have  any  just  motive  for  assigning  to  him 
is  that  oVMattaccio''  or  *  *  Mata2o'\hxQkv-Q\G\NVi), — 
an  innocent  appellation  enough, — and  one  that,  as 
a  matter  of  fact,  was  not  attached  to  him  until  his 
sojourn  at  Mont'  Oliveto.  The  insertion  of  the 
more  notorious  nickname  and  its  alleged  origin  at 
this  point  of  Vasari's  narrative,  is,  as  we  have  said, 
one  of  the  most  glaring  examples  of  the  biographer's 
antipathy ;  since  it  prejudices  the  reader  at  the 
outset  against  the  subject  of  his  Memoir. 

We  are  told  that  Bazzi's  studies  from  Giacomo 
della  Querela  bore  fruit  in  one  instance  at  least, — 
a  painting  of  the  Madonna  suckling  her  Infant 
(''about  three  palms  high  and  wide  in  proportion" ) 

1  Vasari,  Op.  cit.^  p.  381,  note  3. 


66  EARLY   WORK    IN    SIENA 

which  hung  over  the  lesser  organ  in  the  church  of 
S.  Francesco;  and  whose  statuesque  attitude  recalled 
the  centre  group  of  the  Fonte  Gaia.^ 

Mrs.  Richter^  has  pointed  out  the  striking  affinity 
between  the  statues  of  Rhea  Silvia  and  Acca 
LaMventia,  by  Quercia,  once  standing  on  the 
ends  of  the  screen  of  this  celebrated  Fountain,^ 

^  Cf.  Delia  Valle,  Op.  cit.,  vol.  iii.  p.  255  :  "  La  sua  Madonna  in 
S.  Francesco  di  Siena  e  in  tavola  alta,  circa  tre  palme,  e  larga  a  propor- 
zione,  ed  b  mezza  figura  col  Bambino  lattante.  Siccome  1'  aria,  il  paese, 
il  colorito,  e  la  morbidezza  non  lasciano  dubitare  che  quest'  opera  sia  sua, 
cosi  il  non  perfetto  contorno  delle  figure,  e  delle  membre  loro,  il  naso 
della  Vergine,  che  non  ista  benissimo  al  luogo  suo,  ed  alcuni  altri  piccoti 
difetti,  che  non  si  vedono  in  tutti  gli  altri  quadri  di  lui  mi  persuadono, 
che  questa  sia  la  prima  sua  pittura  fatta  in  Siena,  e  somiglia  molto  al  fare 
di  Jacopo  della  Fonte,  e  ad  una  figura,  che  ivi  si  vede  ancora,  benche  un 
poco  guasta :  il  fare  h  duro,  e  secchino." 

This  picture  disappeared  from  S.  Francesco  at  the  time  of  the  great 
fire  in  1655,  in  which  so  many  celebrated  works  of  art  perished. 
Romagnoli  {Op.  cit.)  however  distinctly  states  that  it  is  ^^  ora  alle  Belle 
Arti"  and  refers  to  it  again  in  a  short  list  of  paintings  then  in  that 
Institution ;  though  apparently  not  exhibited,  since  he  does  not  include 
any  of  those  now  in  the  Gallery. 

A  panel,  in  which  we  believe  may  be  traced  this  missing  work,  was 
purchased  in  Siena  a  few  years  ago  by  Mrs.  J.  P.  Richter.  The 
circumstances  under  which  it  came  into  her  possession,  together  with 
its  condition  when  bought — badly  cracked  and  charred  all  down  one 
side — support  our  contention,  and  would  account  for  its  disappearance 
into  private  hands,  as  too  much  injured  for  public  exhibition,  and  there- 
fore apparently  valueless.  There  is  an  inferior,  though  not  unpleasing, 
replica,  varying  in  trifling  details,  now  in  the  National  Gallery  (Room  I. 
No.  246),  clearly,  however,  the  work  of  Bazzi's  follower,  Girolamo  del 
Pacchia,  to  whom  some  critics  would  also  assign  Mrs.  Richter's  picture, 
asserting  both  to  be  copies  of  a  lost  Bazzi.  We  cannot,  however, 
consider  Pacchia  capable  of  executing  so  exquisite  and  beautiful  a  work. 
The  charm  of  the  Madonna  is  so  ineffably  Sodomesque,  and  the  Child, 
vastly  differing  from  Pacchia's,  resembles  other  presentations  of  the 
Divine  Infant  by  Bazzi,  notably  the  Infant  in  the  Ginoulhiac  picture. 

^  L.  M.  Richter,  Zeitschrift  fiir  Bildende  Kiinst,  July  1901,  pp.  244-8. 
(Leipzig.)     The  Artist,  October  1901,  pp.  89-93.     (London.) 

^  Now  once  more  set  up  among  the  fragments  of  this  work,  re-erected 
in  the  loggia  of  the  Palazzo  Pubblico  by  Comm.  Corrado  Ricci,  on  the 
occasion  of  the  Mostra  dell'  Arte  Antica  at  Siena  in  1904. 


Photo:  Alinari, 


STATUE    OF   RHEA   SILVIA. 
BY   GIACOMO   DEI. LA    QUERCIA. 

KUOM    THE    FONlf    <;AIA,    SIENA. 


To  fact  />.  6 


STATUE   OF   ACCA   LAURENTIA. 
BY  GIACOMO  DELLA  QUERCIA 

FROM   THE   FONTE   GAIA,    SIENA. 


To  face  p.  66. 


'4-^ 


STUDIES    FROM   THE   FOREGOING   STATUES. 
BY  BAZZI. 

UFFIZI,    FLORENXE. 


P.  66. 


UNIVERSITY 


'■i\:> 


THE    FONTE   GAIA  67 

and  the  well-known  '' Charitas''  in  the  Royal 
Gallery  at  Berlin  ;  and  she  has,  moreover,  drawn 
attention  to  a  drawing  in  the  Uffizi  collection 
(Case  243,  No.  43)  attributed  to  that  master.  This 
drawing  is  so  evidently  the  reproduction  of  an 
already  existing  work,  and  not  a  first  sketch,  that 
the  conviction  of  actually  holding  in  our  hands  one 
of  the  counts  of  Vasari's  indictment  is  borne  in 
upon  us ;  and  that  this  very  drawing  is  one  of  those 
studies,  in  connection  with  which  our  young  friend 
is  so  severely  taken  to  task.  Contessa  Priuli  Bon  ^ 
also  suggests,  with  some  show  of  reason,  that  the 
collection  of  casts,  etc.,  known  to  have  been  in 
our  artist's  possession,^  may  also  have  included 
copies  of  portions  of  this  famous  work  of  art. 

Of  the  pictures  known  to  have  been  painted  at 
this  period,  two  recorded  by  Delia  Valle^  have, 
alas !  disappeared.  In  his  account  of  the  work 
of  Antonio   Barili,    quoting  Alfonso  Landi,"*   he 

^  Contessa  Priuli-Bon,  Sodoma  (Great  Masters  Series).  London; 
George  Bell  &  Sons,  1900,  pp.  10-11. 

^  Monsignore  Giovanni  Bottari,  Lettere  Pittoriche,  vol.  v.,  No.  42  : 
P.  Trappolini  a  Messer  Alessandro  Corvini :  Milano,  Giovanni  Silvestri, 
1822  ;  also  Lettere  Facete,  etc.,  collected  by  Francesco  Turchi :  Venezia, 
1 601.  Cf.  also  Nuovi  Documenti  cit.,  p.  526,  No.  273.  Appendix 
No.  32. 

^  Delia  Valle,  Op.  cit.,  vol.  iii.  pp.  328-30. 

^  Delia  Valle  and  Landi,  Op.  cit. :  "  Del  medesimo  artifice  nella 
Gallerik  del  Signor  Pandolfo  Savini  vi  e  un  ornamento  lavorato  in  noce 
fatto  ad  un  quadro  di  Gio.  Antonio  detto  il  Sodoma,  alto  piii  di  tre  braccia 
e  largo  braccia  uno  e  mezzo,  nel  quale  e  rappresentata  la  Vergine  con 
idea,  e  volto  maestosissinio,  col  suo  Bambino  tutto  nudo  in  grembo,  sopra 
modo  delicato,  e  tenero,  con  S.  Gio.  Baitista,  parimente  putto  assai 
vezzoso,  eabbracciato  dalla  Vergine  col  braccio  destro,  e  con  S.  Giuseppe 
nella  parte  di  sopra,  del  quale  apparisce  la  testa  con  una  mano  con  essa 
tenente  un  vaso.  Questo  quadro,  per  1'  eccellenza  sua  e  di  valore 
grandissimo,  ha  un  ornamento  intorno  lavorato  da  Antonio  Barili,  e  in 
forma  rotonda  di  sopra,  e  di  sotto,  e  in  piano." 


68  EARLY   WORK    IN    SIENA 

describes  fully  two  pictures  painted  to  the  order 
of  the  Savini,  for  which  Barili  carved  sumptuous 
frames.  The  first  of  these  paintings  was  3  braccia 
high  by  i^  wide,  and  "  represented  the  Virgin  with 
a  most  majestic  mien  and  countenance ;  her  Child 
nude  on  her  lap,delicateand  tender  beyond  measure, 
with  S.  John  the  Baptist,  an  equally  charming  child 
encircled  by  the  Virgin's  right  arm,  and  with 
S.  Joseph  above,  whose  head  and  one  hand  holding 
a  vase,  alone  are  visible."  Milanesi^  tells  us  that 
the  frame  was  made  in  1501.  The  painting  would 
therefore  be  one  of  the  very  earliest  of  Bazzi's 
Sienese  performances.  We  read  in  this  chronicle 
that  it  remained  for  a  long  time  in  the  Palazzo 
Savini,  but  was  sold  out  of  the  country  by  the 
widow  of  Guido  Savini,  the  last  of  his  name,  for 
120  scudi  (60  zecchini). 

The  other  picture  painted  for  the  same  family, 
with  a  frame  carved  by  the  same  skilful  craftsman,^ 
was  2  braccia  high  by  if  wide.  Here  "the Virgin  is 
also  seated  with  her  nude  Infant  in  her  lap;  theChild 
is  receiving  the  adoration  of  the  juvenile  S.  John 
the  Baptist,  with  a  cross  clasped  to  his  breast. 

^  Vasari,  Op.  cit.,  p.  396,  note  3. 

2  Delia  Valle  &  Landi,  Op.  cit. :  *'  Nella  medesima  galleria  v'e  un  altra 
pittura  del  medesirao  Sodoma  in  quadro,  alto  braccia  due,  largo  braccia 
uno,  e  tre  quarti.  In  essa  si  rappresenta  la  Vergine  sedente  col  Bambino 
nudo  in  braccio,  il  quale  sedente  mostra  di  voler  ricever  ossequio  da  S.  Gio. 
Battista,  parimente  fanciullo,  che  mostra  di  riverire  Cristo  Bambino, 
stante  con  le  mani  in  croce  appoggiate  al  petto.  Sopra  a  8.  Gio.  Battista 
apparisce  Santa  Caterina  da  Siena  in  busto,  e  con  le  mani  gionte,  tra  le 
quali  ha  un  giglio,  &  a  rincontro  comparisce  una  testa  di  S.  Giuseppe. 
L'  ornamento  di  questo  quadro  e  fattura  del  medesimo  Barili.  .  .  ." 

Vasari  {Op  cit.,  p.  396)  refers  to  one  of  these  pictures  as  having  been 
painted  for  Messer  Enea  Savini  dalla  Costerella,  and  adds  that  it  was 
inolto  lodato.     Which  of  the  two  he  means  we  cannot  now  say. 


pA^^. 


''TONDO"   FROM    LECCETTO  69 

Above  are  seen  the  bust  of  S.  Catherine  of  Siena, 
with  hands  folded  holding  a  lily,  and  on  the  opposite 
side  S.  Joseph."  This  picture  has  also  disappeared. 

Critics  likewise  place  certain  other  panels  within 
this  period  ;  but  before  proceeding  with  our  his- 
torical narrative,  we  would  here  draw  attention  to 
two  paintings,  both  now  preserved  in  the  Accademia 
delle  Belle  Arti  at  Siena,  and  both  almost  certainly 
painted  before  1503. 

One  of  these  (No.  512),  a  tondo,  once  in  the 
Hermitage  at  Leccetto,  three  miles  outside  the 
Porta  S.  Marco  of  the  city,  represents  the  Nativity. 
The  Magi  are  approaching  from  a  distance,  while 
the  shepherds  are  seen  through  an  opening  in  the 
wall  behind.  The  point  most  worthy  of  remark 
in  this  picture  is,  that, — pace  the  veryLeonardesque 
head  of  the  angel  supporting  the  Infant  S.  John, 
which  in  this  respect  strikes  a  discordant  note,^ — 
the  whole  work  is  curiously  Tuscan  in  sentiment 
and  feeling.  The  composition  and  certain  details, 
such  as  the  broken  wall  behind  the  kneeling  Virgin, 
so  vividly  recall  the  work  of  Lorenzo  di  Credi,  that 
Jansen^  even  goes  so  far  as  to  attribute  to  Bazzi  a 
picture  (No.  439)  in  the  Villa  Borghese  in  Rome, 
which,  in  spite  of  superficial  points  of  similarity, 
is  obviously  not  by  our  artist,  but  by  Di  Credi 
himself,  or  one  of  his  disciples.^     The  adoption  of 

^  Padre  Luigi  de  Angelis  in  his  Ragguaglio  del  Nuovo  Istituto  delle 
Belle  Arti  (Siena,  i8i6)  suggests  that  he  sees  in  the  angel's  head  a 
portrait  of  Bazzi  himself  as  a  youth. 

2  Jansen,  Op.  cit.,  p.  45. 

^  Two  other  Nativities  by  Bazzi  do,  in  their  composition  as  well  as 
in  their  form,  directly  recall  this  very  painting. 

They  are  :  {a)  A  Nativity  with  two  angels,  once  in  the  Palazzo  Chigi- 


70  EARLY   WORK    IN    SIENA 

the  tondo  or  circular  form  of  painting,  common  in 
Tuscany  and  Umbria,  is  also  worth  observing. 

The  other  picture  is  i\it  Descent  froin  the  Cross, 
which  even  forced  the  admiration  of  Vasari  himself; 
who,  nevertheless,  it  may  be  observed,  chronicles  it 
at  the  wrong  epoch  of  Bazzi's  life, — i.e.,  subsequent 
to  his  return  from  Rome,  and  even  after  the  award 
of  the  title  of  Cavalier.  Some  critics^  for  this 
reason  would  wish  to  set  the  date  of  this  picture 
in  15 13;  but  Milanesi^  very  rightly  points  out  that 
the  somewhat  more  restrained  (castigata)  manner 
of  the  painting  altogether  defeats  this  contention. 
The  picture,  removed  to  the  Academy  in  1862,  was 
painted  for  the  altar  of  the  Cinuzzi  family  chapel  in 
S.  Francesco,  and  narrowly  escaped  destruction  in 
the  greatconflagration  which  occurred  in  that  church 
on  August  24th,  1655;  when  works  by  Raphael, 
Perugino,  Pinturicchio  and  Bazzi  himself  perished. 

References  to  this  painting  recur  frequently. 
Sigismondo  Tizio^  in  15 13  writes  as  follows  : — 

"  Tabulam  nihilominus  loannis  Antonii  Vercellensis, 
quern  Leo  Pontifex  equitem  creaverat  in  S.   Francesco 

Zondadari,  Siena,  but  now  in  the  possession  of  Capt.  Holford,  Dorchester 
House,  Park  Lane,  London. 

(J))  A  Nativity  with  one  angel,  once  in  the  Galleria  Scarpa  at  Motta  di 
Livenza,  and  there  attributed  to  Cesare  da  Sesto.  Now  in  the  possession 
of  Cav.  Aw.  Antonio  Borgogna  of  Vercelli.     See  ante,  p.  52. 

^  Herr  Karl  Schuchhardt,  Jahrbuch  der  Koniglichen  Freussischen 
Kunstsammlungen,  vol.  xviii.,  1897,  and  Prof.  Pietro  Rossi,  Op.  cit.,  p.  10. 

2  Vasari,  Op.  cit.,  p.  388,  note  i  :  "  Vogliono  alcuni  che  fosse  dipinta 
nel  15 13  :  ma  a  noi  pare,  dalla  maniera  piii  minuta  e  piu  castigata,  e  dall' 
ordine  stesso  della  composizione,  che  si  debba  riportare  innanzi  al  tempo 
delle  pitture  di  Mont'  Oliveto." 

'  Tizio,  Op.  cit.,  15 1 3.  Cf.  also  Vittorio  Lusini,  La  Storia  della 
Basilica  diS.  Francesco  in  Siena:  Siena,  Tip.  S.  Bernardino,  1894,  p.  174 ; 
and  Luigi  De  Angelis,  La  Vita  delB.  Fietro  Fettinaio:  Siena,  1802,  p.  128. 


THE    "DESCENT  FROM  THE   CROSS"  71 

post  Bernardini  {il  Pinturicchio)  et  Petri  {il  Perugino) 
tabulam,  in  qua  Christus  de  Cruce  depositus,  aiunt  cum 
propinquis  decertare  posset,  cum  placeat  multis.  ..." 

Mancini  ^  says  : — 

" .  .  .  il  Sig.  Annibale  Caracci  avendo  visto  in  Siena, 
le  cose  di  questo  nostro,  ed  in  particolare  nel  duomo  1'  altare 
della  Madonna  a  man  destra,  e  quel  deposto  di  Croce 
in  S.  Francesco,  mi  disse  esser  grandissimo  maestro,  e 
di  buonissimo  gusto,  e  che  di  simili  se  ne  vederno  poche, 
dolendosi  appresso  di  non  essere  andato  a  Chiusure,  dove 
aveva  di  poi  inteso  esser  molte  cose  di  quest'  uomo  ;  e  del 
suo  tempo  migliore.  Solo  aggiungo,  che  il  Vasari  ha 
'  preso  r  invenzione  del  deposto  di  S.  Agnolino  da  quel 
del  Sodoma,  in  S.  Francesco.  .  .  ." 

In  a  report  of  a  pastoral  visitation  conducted  by 
Monsignore  Francesco  Bossio,  Apostolic  Visitor, 
in  1575,  it  is  thus  described  : — 

"  Icona  vero  erat  multum  magnifica  cum  misterio  depo- 
sitionis  a  Cruce  D.  N.  Jesu  Christi,  et  ornatis  columnis 
marmoreis  auro  elaboratis." 

Can.  Lusini,  having  consulted  the  original  docu- 
ment preserved  in  the  Archivio  della  Curia 
Arcivescovile,  writes  as  follows  : — 

"  But  beyond  this,  we  come  to  a  new  wonder  over  the 
altar  of  the  Cinuzzi,  covered  with  a  frontal  of  white  silk 
(brocade  ?),  the  panel  of  the  Deposition  of  Christ  from 
the  Cross,   painted  with  all  the  force  of  sentiment  and 

^  Mancini,  Op.  cit.,  p.  37  ;  cf.  also  L.V.  12,  p,  73,  and  Benvoglienti 
Miscellanea  cit.,  pp.  252-6.  Cf.  De  Angelis,  Op.  cit.,  p.  cit.,  who 
caustically  adds  the  following  words  to  his  quotation  of  this  passage : 
"  Non  fe  dunque  maraviglia,  che  si  degni  il  Sig.  Vasari  nelle  sue  Vite 
dopo  avergli  fatto  tal  furto  ec.  chiamarlo  il  Mattaccio." 


75  EARLY  WORK    IN    SIENA 

mastery  of  art  possessed  by  that  great  artist  Giovanni 
Antonio  Bazzi.  .  .  .  That  architectural  decoration  raised 
upon  graceful  and  elegant  columns  touched  up  with  gilded 
tracery,  worthily  frames  Sodoma's  great  work."^ 

From  the  same  writer^  we  learn  that  the  owner 
of  the  chapel  was  one  Giugurta  Cinuzzi.  The 
altar  was  the  fifth  in  a  row  of  nine  on  the  right- 
hand  side  on  entering  the  church  ;  and  it  stood 
between  that  dedicated  to  S.  Girolamo  de'  Vieri, 
over  which  hung  a  painting  by  Perugino,  and  the 
Sergardi  family  altar,  whereon  stood  a  work  by 
Pinturicchio,  with  a  predella  by  Raphael.  Exactly 
opposite,  on  the  other  side  of  the  church,  was 
another  work  by  Bazzi.  All  these  treasures 
perished  in  the  fire. 

As  a  piece  of  painting  this  Deposition  is  mag- 
nificent in  colour  and  power.  We  cannot  fail  to 
admire  the  separate  groups,  especially  that  of  the 
Virgin  and  the  holy  women  around  her.  Even 
Vasari  is  pleased  to  commend  this  group,  which 
may  be  profitably  studied  side  by  side  with  a  much 
later  composition  by  Bazzi — i.e.  the  Swooning  of 
S.  Catherine, — where  a  similar  attitude  of  a  fainting 
woman  supported  by  her  companions  is  reproduced 
once  more.  But  he  is  perhaps  more  impressed  by 
the  somewhat  meretricious  trick  of  making  mirrors 

^  Lusini,  Op.  cit.,  p.  124.  "Ma  piii  oltre  si,  che  v'ha  una  nuova 
meraviglia  sull'  altare  dei  Cinuzzi,  coperto  di  davanzale  bianco  di  seta 
bertina.  C'b  la  tavola  della  Deposizione  di  Gesii  dalla  Croce,  dipinta 
con  tutta  la  forza  del  sentimento,  e  la  maestria  dell'  arte  da  quel  grande 
che  fu  Giovanni  Antonio  Bazzi.  .  .  .  Quell'  ornato  architettonico  levato 
su  gentili  ed  eleganti  colonne,  ravvivavate  dalle  lumeggiature  d'  oro, 
incornicia  degnamente  il  gran  lavoro  del  Sodoma." 

*  Lusini,  Op.  cit.,  pp.  175-88. 


Photo:  Lombardi. 


THE   SWOONING   VIRGIN. 
DETAIL  FROM  THE   "DEPOSITION: 

SIENA    ACADEMY. 


To  /ace  p.  72. 


Photo  :  LombarJi. 


TWO   LEGIONARIES. 
DETAIL    FROM    THE   SAME. 


To  /ace  ^.72. 


BAZZrS    INDUSTRY  73 

of  the  soldier  s  armour.^  The  two  legionaries  are 
exceedingly  fine  and  powerfully  drawn.  The  figure 
with  his  back  turned  to  the  spectator  has  been  said 
to  be  Bazzi's  own  portrait,^  but  if  we  are  correct 
as  to  the  date  of  the  picture,  this  is  obviously 
impossible.  The  landscape  is  charming  and 
thoroughly  consonant  with  our  artist's  Lombard 
training ;  and  the  most  careful  attention  to  detail 
is  a  prominent  characteristic,  proving  once  more 
that  Bazzi  could  take  pains  if  he  pleased.  The 
small  paintings  on  the  predella — Scenes  frorn  the 
Passion — are  inferior  productions,  probably  by 
another  hand. 

Now,  if  we  reckon  in  our  minds  all  the  pictures 
— of  which  we  have  here  alluded  to  the  most  im- 
portant only — that  may  reasonably  beassigned  to  the 
years  between  our  artist's  arrival  in  Siena  (be  that 
1500  or  1 501)  and  the  date  at  which  he  betook 
himself  to  S.  Anna  in  Creta, — i.e.  during  the  month 
of  July  1503, — we  can  scarcely  agree  with  Vasari 
that  his  time  was  spent  in  idleness.  Up  to  this 
time  we  hear  of  no  pupils  or  assistants,  and  Vasari 
himself  expressly  states  that  he  worked  alone. 
Bd.zzi  could   not,  therefore,   have  found  such  an 

^  The  compiler  of  the  Raccolta  delle  piil  celebri  Pitture  esistenti  nella 
Citt^  di  Siena,  disegnate  ed  incise  da  valenti  artisti  (Firenze  :  Niccolo 
Pagni,  1825),  notices  the  following  reflections  in  the  armour  of  the 
soldier  : — 

(i)  The  figure  of  himself  in  the  helmet  on  the  ground. 

(2)  That  of  his  companion  talking  to  him. 

(3)  The  group  of  holy  women  mirrored  in  his  cuirass  under  his  left 

arm. 

Delia  Valle  indicates  as  the  Magdalen  the  woman  with  the  fillet 
across  her  forehead,  leaning  over  the  Madonna;  not  the  woman  who 
stands  beside  the  cross. 

^  Schuchhardt,  Op.  cit. 


74  EARLY  WORK    IN    SIENA 

extraordinary  amount  of  leisure  in  which  to  amuse 
himself,  if  he  managed  in  this  brief  space  of  his 
life  to  execute  all  the  work  with  which  contemporary 
authorities  and  the  discoveries  of  modern  research 
have,  with  considerable  show  of  reason,  credited 
him. 


A^C^V' 


Ir*  >  rr '-r .«..     */ 


SPECIMEN   OF   G.    A. 


JL  J*  f»  X  J^*''  '^  '  1"^ 


/• 


V'^^ 


dl 


ZZrS   HANDWRITING. 


P/irto:  H.Rurtou. 


CHAPTER   IV 

EARLY  FRESCOES  AND   PAINTINGS 

The  year  1503  is  marked  by  a  covenant  entered 
into  by  Bazzi,  with  Fra  Andrea  Cossa  (or  Coscia), 
a  Neapolitan  monk,  '' cellerario''  or  steward  of  the 
small  Olivetan  community  of  S.  Anna  in  Camprena 
(or  Creta),  to  decorate  the  walls  of  the  refectory.^ 

Vasari,  with  his  habitual  disregard  of  chrono- 
logy, sets  this  work  posterior  in  order  of  date  to 
the  great  achievement  at  Monte  Oliveto  Maggiore^; 
and,  moreover,  mentions  one  only  among  the 
frescoes  executed  here.^  The  learned  Olivetan 
Father,  Don  Placido  Lugano,''  has  discovered  and 
printed  in  extenso  the  original  document  from  the 
Archives  of  the  Convent  ^ ;  which,  indeed,  not  only 
lays  the  question  of  priority  finally  to  rest,  but  also 

'^  The  late  M.  Eugene  Miintz  says  {Histoire  de  PArt  pendant  la 
Renaissance:  Paris,  Hachette  et  Cie,  1895,  vol.  iii.  p.  518)  that  Bazzi 
was  invited  to  S.  Anna  in  Creta  by  the  Abbot,  Tommaso  Pallavicini. 

^  It  is  difificult  to  understand  this,  since,  although  it  is  possible  that 
Vasari  never  went  to  Monte  Oliveto  Maggiore  at  all,  he  certainly  stayed 
some  months  at  S.  Anna  in  Creta  in  1530-31  with  his  friend,  Don 
Miniato  Pitti. 

^  It  is  to  be  observed  that  Vasari,  in  speaking  of  Bazzi's  Farnesina 
work,  also  only  recalls  twooi  the  frescoes, — i.e.  The  Marriage  of  Alexander 
and  Roxana  and  Vulcan  at  his  Forge, 

*  Placido  Lugano,  //  "  Sodo/na  "  e  i  suoi  affreschi  a  Sanf  Anna  in 
Camprena  presso  Pienza.  {Bullettino  Senese  di  Storia  Patria,  Anno  IX., 
fasc.  ii.,  1902.) 

^  R.  Archivio  di  Stato  di  Firenze.  Archivio  del  Patrimonio 
Ecclesiastico,  Pienza,  A.  CCCIX.,  vols,  i.-ii.  (461),  fol.  18  bis.  Appendix 
No.  7. 

75 


76  EARLY   FRESCOES   AND    PAINTINGS 

casts  doubts  upon  another  of  Vasari's  statements. 
The  biographer  would  have  us  believe  that  Bazzi's 
introduction  to  the  Olivetan  Monks, — an  Order 
for  whom  he  laboured  at  various  epochs  of  his 
life,  and  in  more  than  one  monastery, — was  due 
to  the  favour  or  partiality  of  their  General,  Fra 
Domenico  da  Lecco  (a  Lombard,  and  in  a  sense 
his  fellow-countryman) ;  and  that  it  was  persuasion 
and  flattery  brought  to  bear  upon  this  ecclesiastic, 
which  acted  as  an  inducement  to  him  to  engage  our 
artist  for  the  completion  of  the  work  commenced,  but 
afterwards  abandoned,  by  Luca  Signorelli.^  This 
document,  however,  shows  that,  of  the  three  friars, 
witnesses  to  the  agreement,  one  was  a  native 
of  Milan,  and  another,  Fra  Bartolommeo,  had 
actually  come  from  the  town  of  Vercelli.  Far  more 
probable  that  these  monks  were  the  channel  through 
which  the  introduction  was  obtained  ;  and  success 
at  S.  Anna  almost  certainly  acted  as  a  spur  for  the 
more  important  commission  at  the  Mother  House. 
The  Convent  of  S.  Anna  in  Camprena,  after 
many  vicissitudes  now  the  summer  residence  of 
the  Bishops  of  Chiusi  and  Pienza,  lies  somewhat 
remote  from  the  highway,  about  five  miles  from 
the  latter  city.  The  monastery,  founded  in  1324 
by  Donna  Ugucia,  wife  of  Ramezio  Ragnoni,  a 
Sienese  patrician,  was  at  first  neither  an  imposing 
nor  an  extensive  pile.  Time,  however,  added  im- 
portance to  the  edifice,  and  a  large  chapel, — now 

^  Scenes  from  the  Life  of  S.  Benedict  in  the  great  cloister.  That  Vasari, 
if  he  ever  visited  Monte  Oliveto  Maggiore,  could  have  had  but  a  hazy 
recollection  of  what  he  saw,  is  proved  by  his  statement  {Op.  cit.,  vol.  iii. 
p.  689)  that  Signorelli  painted  elevefi  of  these ;  whereas,  as  a  matter  of 
fact,  he  only  executed  teri. 


S.   ANNA    IN    CRETA  77 

the  parish  church, — was  built.  To  this  structure 
a  cloister  was  added  at  the  end  of  the  fifteenth 
and  beginning  of  the  sixteenth  centuries,  from  the 
designs  of  Fra  Paolo  da  Recco,  an  Olivetan  of 
Genoese  origin,  whose  multifarious  labours  at  the 
Mother  Abbey  were  much  esteemed ;  and  included 
magnificent  intarsia  panelling  and  carved  wood 
stalls  (since  destoyed)  for  the  refectory,  which 
Bazzi's  frescoes  subsequently  adorned. 

Padre  Luganor  not  only  brought  to  light  the 
original  instrument  commissioning  this  work,  dated 
July  loth,  1503  ;  ^  but  also  a  notice  of  the  same  in 
a  Summary,^ — prefixed  to  a  volume  of  the  Convent 
Records, — obviously  compiled  many  years  (perhaps 
centuries)  later ;  and  last,  but  not  least,  the 
entry  of  a  payment  of  21  ducat  (=147  lire 
or  thereabouts)  on  June  25th,  1504;  thus  affording 
evidence  that  the  artist  spent  nearly  a  year  at  work 
upon  these  frescoes. 

These  paintings  depict  Scenes  from  the  Gospels, 
the  Life  of  the  Virgin,  and  the  History  of  the 
Olivetan  Order.  They  cover  six  large  divisions  : 
three  at  either  end  of  a  long  room.  These  are 
connected  by  a  frieze  running  along  the  side  walls  at 
a  certain  height,  beneath  which  the  stalls  mentioned 
above  were  originally  placed.  The  frieze  on  the 
right-hand  wall    under   the  windows  is  entirely 

^  This  document,  though  much  injured  and  torn  across,  is  still  very 
legible. 

2  Archivi  detti,  etc.,  Soinmario,  Lettera  F  (Fitfura),\)^.  51-2.  It 
is  to  be  noticed  that  in  this  summary  the  painter  is  styled  Maestro  Giovan 
Antonio  da  Vergelle,  showing  that  it  must  have  been  written  long  after,  by 
some  one  who  favoured  the  Sienese  rather  than  the  Lombard  origin  of  the 
artist. 


78  EARLY   FRESCOES   AND    PAINTINGS 

obliterated :  not  a  surprising  circumstance,  since  the 
refectory  floor  lies  several  feet  below  the  level  of  the 
garden  outside.  Moreover,  since  this  room  at  one 
time  served  the  purposes  of  the  peasant-custodian, 
as  a  woodshed  and  tool-house,  it  is  wonderful  indeed 
that  any  portion  of  the  work  should  have  survived. 
The  frieze  opposite  the  windows  is  cruelly  injured 
and  partially  defaced  in  places.  Damaged  though 
it  be,  the  work  cannot  fail  to  interest  the  student,  as 
the  earliest  example  of  that  fanciful  arabesque  work, 
in  which  Bazzi  delighted,  and  achieved  so  great  a 
measure  of  distinction.  The  scenes  from  the  Life 
of  the  Virgin,  painted  in  monochrome  panels, 
alternate  with  portrait-busts  of  Benedictine  Saints. 
Three  of  these  portraits  are  still  in  a  tolerable  state 
of  preservation,  and  it  is  well  worth  the  student's 
while  to  compare  that  of  .S.  Scholastica  with  a 
very  similar  presentment  of  this  saint  by  Boltrafiio, 
to  be  found  in  the  gallery  of  the  Nuns'  Choir 
at  S.  Maurizio  (Monastero  Maggiore)  at  Milan. 

The  wall  at  the  upper  end  of  the  room  is  filled 
by  a  single  vast  composition  in  three  divisions, 
depicting  the  Miracle  of  the  Loaves  and  Fishes : 
the  one  fresco,  be  it  noted,  mentioned  by  Vasari. 
This  large  painting,  though  not  altogether  satis- 
factory, nevertheless  abounds  in  charming  details. 
The  injuries  due  to  damp — especially  in  the  left- 
hand  corner  of  the  composition — doubtless  tend 
in  a  not  inconsiderable  degree  to  diminish  our 
appreciation  of  the  fresco.  The  Saviour's  mien, 
though  of  a  tender  cast,  is  very  impressive ;  but 
in  some  of  the  other  figures  Bazzi  already  exhibits 
at  this  early  period  of  his  art   that  inclination 


DRAUGHTSMANSHIP   AND    TYPES    79 

towards  the  somewhat  sensuous  types  of  beauty, 
which  marks  his  later  development.  We  may 
observe  with  interest  that,  in  spite  of  the  too- 
apparent  traces  of  careless  painting  throughout, 
the  limbs  of  the  principal  figures  are  all  drawn 
underneath  their  robes  with  great  precision.  This 
is  one  of  the  most  notable  characteristics  of 
our  painter's  methods,  showing  how  solidly  the 
foundations  of  his  artistic  training  had  been  laid. 
The  forms  appear  as  though  they  were  clothed  in 
one  garment  only ;  every  detail  of  the  anatomy 
being  visible  to  a  degree  almost  bordering  on  the 
grotesque.  A  stripling  in  the  left-hand  panel  pre- 
sents an  oft-recurring  type,  and  his  wreath  of  roses 
suggests  Tuscan  influences ;  whilst  the  peculiar 
swathed  head-band  of  the  woman  in  the  cor- 
responding lateral  panel  reappears  at  frequent 
intervals  in  Bazzi's  later  compositions.  We  may 
also  notice  the  quaint  baskets ;  in  shape  and  size 
identical  with  those  still  in  use  at  the  present 
day. 

Here  for  the  first  time  we  find  the  artist  im- 
porting into  his  landscape  the  well-known  ruins 
of  Ancient  Rome :  the  Arch  of  Constantme,  for 
instance,  behind  the  central  group,  and  in  the 
right-hand  panel,  the  Colosseum.  Don  Placido 
observes  that  MM.  G.  B.  de  Rossi^  and  A.  Geffroy  ^ 
have  drawn  particular  attention  to  this  noteworthy 

^  G.  B.  de  Rossi,  Di  un  affresco  del  Sodoma  nel  chiostro  di  Monte 
Oliveto  Maggiore  rappresentante  u?ia  prospettiva  del  foro  romatio  {Bullet- 
tino  deir  Istituto  della  Corrispondenza,  1887,  p.  150). 

^  A.  Geffroy,  Une  vue  inedite  de  Rome  en  14S9  '■>  ^-  ^"  ^^  Rossi, 
SuppUment  aux  M'elanges  d' Archiol.  et  d^Histoire,  torn,  xii.,  Rome,  T892, 
p.  380. 


SoEARLY    FRESCOES   AND    PAINTINGS 

fact ;  and  that  the  former  recalls  theexistenceofanow 
rare  work,  tniiiXtd^ntiquarieprospetticheRomane, 
which  enjoyed  an  extensive  circulation  in  artistic 
circles  at  the  end  of  the  fifteenth  century.  Since 
at  that  time  Bazzi  had  not  as  yet  visited  Rome, 
it  is  clear  that  he  must  somehow  have  become 
acquainted  with  this  work, — perhaps  in  the  studio 
of  Leonardo  da  Vinci, — and  through  such  means 
the  interest  and  attention  of  the  "idle  apprentice" 
were  evidently  awakened  in  an  unusual  degree 
to  the  study  of  antique  remains,  rendering  him 
henceforth  the  willing  slave  of  classical  influences. 
This  tendency  may  be  discerned  in  the  frequent 
recurrence  of  similar  buildings  throughout  his 
work.  The  fresco  exhibits  strongly  marked  traces 
of  the  two  influences,  Tuscan  and  Lombard,  then 
dominant  in  the  young  artist's  mind ;  and  there  is 
no  doubt  that  the  conflict  between  these  two  is 
responsible  for  the  unsatisfying  preliminary  impres- 
sion, that  so  disturbs  the  spectator's  appreciation 
and  judgment. 

The  entrance  occupies  the  centre  of  the  wall  at 
the  lower  end  of  the  room,  and  a  very  beautiful, 
though  somewhat  archaic  Head  of  Christ  adorns 
the  inside  of  its  arched  lintel. 

A  Pietciy  surmounting  this  doorway,  is  so 
Umbrian  in  sentiment,  design  and  expression, 
that  several  of  the  figures — notably  that  of  S.  John — 
might  well,  we  would  fancy,  have  been  delineated 
by  a  scholar  of  Perugino. 

A  group,  representing  S.  Anne,  enthroned  on  a 
high  chair,  with  the  Madonna  seated  below,  sup- 
porting the  Holy  Child  on  her  knee,  fills  the  lateral 


H    O 

a; 

p!-l       fa 


■^ 


FRESCO   OF   "S.    BENEDICT'^  81 

panel  to  the  left.  Two  Olivetan  monks,  to  one  of 
whom  the  Child  is  offering  a  small  bird,  kneel  on 
either  side.  The  scene  is  enacted  under  a  pillared 
portico,  whence  we  behold  a  view  of  the  open 
country  beyond.  The  face  of  the  Infant  Christ  has 
been  entirely  obliterated  ;  although  the  delightfully 
ingenuous  sentiment  of  the  picture  has  survived. 
The  treatment  of  the  subject  is  reminiscent  of  the 
Sacred  Genealogies,  of  which  we  have  already  spoken 
at  some  length. 

In  the  panel  to  the  right,  a  Bishop,  attended  by 
six  Olivetan  brethren,  is  seen  seated  under  a  some- 
what similar  loggia,  with  a  handsome  coffered 
ceiling.  Several  opinions  have  been  put  forward 
concerning  this  personage.  Milanesi  ^  calls  him 
S.  Bernard;  Brogi^  and  Frizzoni^  describe  him  as 
"  un  santo  Vescovo'' ;  whilst  the  author  of  the  Cento 
Citta  d' Italia^  avers  that  the  figure  stands  for 
Guido  Tarlatti,  the  Warrior-Bishop  of  Arezzo, 
approving  the  Olivetan  Rule.  A  single  glance, 
however,  at  the  text  of  the  agreement  commission- 
ing this  work  proves  beyond  question  that  the 
painting  represents  ''  our  father  S.  Benedict "  with 
his  Brethren ;  some  of  whom  are  evidently  portrayed 
from  living  models. 

We  desire  to  lay  particular  stress  here  upon  the 
care  that  this  instrument  evinces  in  defining  the 
artist's  duties  ;  and  we  would  emphasize  the  con- 
dition that  he  was  ordered  to  ^2i\ni  portraits  from 

^  Vasari,  Op.  cit.,  p.  384,  note  2. 

^  F.  Brogi,  Inventario  Generale  degli  Oggetti  d'Arte  delta  Provincia  di 
Siena.     Siena:  C.  Naya,  1897,  p.  18. 
^  Frizzoni,  Op.  cit.,  p.  112. 
*  Cento  Citta  d' Italia.     Milano :  Sonzogno,  31  Ottobre,  1899. 


82  EARLY   FRESCOES   AND    PAINTINGS 

life.  This  ability^  upon  the  painter's  part  may 
have  formed  one  of  his  special  quaHfications  for 
employment ;  and,  having  been  so  successful  on 
the  present  occasion,  he  doubtless  continued  the 
practice  in  subsequent  commissions,  thereby  in- 
vesting the  creatures  of  his  fancy  with  a  semblance 
of  reality  otherwise  unattainable.  The  agreement 
likewise  stipulates  for  an  assistant  {garzone),  but 
the  records  of  S.  Anna  afford  no  clue  regarding 
the  pupil  or  pupils  employed  there. 

A  curious  observation  would  here  not  be  out  of 
place :  namely,  how  authors  follow  one  another, 
like  sheep,  without  reflection,  and  spring  lightly  to 
conclusions  that  not  unfrequently  prove  totally 
unwarranted.  Padre  della  Valle^  suggests  that 
Bazzi  in  this  instance  derived  his  architectural 
inspiration  from  the  Pinturicchio  frescoes  in  the 
Libreria  of  Siena  Cathedral :  a  statement  which 
proved  a  snare  for  successive  experts  until  Dr. 
Julius  Meyer -"^  pointed  out  the  fallacy  of  this 
theory.  Messrs.  Crowe  and  Cavalcaselle  ^  have 
shown  that,  despite  Pinturicchio's  commission 
bearing  date  June  29th,  1502,  and  the  commence- 
ment of  the  work  in  1503,  when  the  ceiling  was 
completed  the  death  of  Pius  III.,  on  October  19th 
of  that  year,  caused  the  total  cessation,  and  divers 
untoward  circumstances  prevented  the  renewal  of 
operations,  until  1506.     By  that  date  the  Monte 

^  Vasari,  Op.  cit.,  vol.  v.  p.  635  :  "  particolarmente  in  fare  ritratti  di 
naturale." 

2  Della  Valle,  Op.  cit,  p.  257. 

'  Dr.  Julius  Meyer,  Allgemeines  Kiinstler- Lexicon.     Berlin,  1885. 

*  J.  A.  Crowe  and  G.  B.  Cavalcaselle,  History  of  Painting  in  Italy, 
vol.  iii.  pp.  281-3.     London  :  John  Murray,  1866. 


INFLUENCE  OF  BRAMANTE  83 

Oliveto  frescoes,  begun  in  1505,  were  well  on  their 
way  towards  completion  ;  while  those  at  S.  Anna 
were  commenced  two  years  earlier  still.  Unless 
therefore  Bazzi  had  seen  Pinturicchio's  cartoons, — 
a  mere  suggestion  unsupported  by  proof, — his  work 
can  in  nowise  have  been  influenced  by  that  of 
the  elder  artist.  The  cause  for  the  resemblance  is, 
as  Dr.  Meyer  points  out,  not  far  to  seek.  Both 
artists  had  been  trained  to  work  from  the  same 
architectural  models :  both  had  been  brought  into 
direct  contact  with  the  same  influence :  namely, 
that  of  Bramante,  whose  decorative  effects  are 
designed  precisely  in  the  same  style,  and  whose 
action  upon  most  of  his  contemporaries, — be  they 
painters  or  sculptors, — is  clearly  perceptible.  The 
work  of  the  Piedmontese  and  Lombard  painters 
abound  in  these  loggie,  these  coffered  ceilings,  and 
these  galleries  from  which  children  {putti)  hang 
garlands  of  flowers  ;  and  Bazzi,  before  journeying 
south,  must  have  been  well  acquainted  with  what 
may  almost  be  described  as  the  *'  sealed  pattern  " 
in  sacred  architecture.  In  this  reference  we  need 
only  compare  the  background  of  Luini's  fresco  of 
the  Presentation  in  the  Temple,  in  the  Votive 
Church  (Santuario)  of  the  Madonna  delle  Grazie  at 
Saronno,  with  that  of  ^S.  Benedict  here;  while  any 
number  of  similar  examples  could  easily  be  produced 
from  other  places.^  Nevertheless,  the  Umbrian 
element,  so  apparent  in  much  of  Bazzi's  early  work, 
can  only  have  been  acquired  from  an  older  master, 

^  The  great  ancona  at  Turin,  by  Macrino  d'Alba,  is  a  good  example 
both  of  the  Bramantesque  architecture  and  of  the  scalloped  canopy 
to  which  we  have  already  referred. 


84  EARLY   FRESCOES   AND    PAINTINGS 

for  whom  he  probably  entertained  both  considerable 
regard  and  respectful  friendship.  The  possibility 
therefore  that  he  may  have  seen  the  cartoons 
designed  by  Pinturicchio  for  his  Libreria  work  is 
by  no  means  excluded  ;  but  it  appears  unnecessary 
to  promote  such  a  suggestion  to  the  rank  of  a 
working  hypothesis,  when  the  solution  of  the 
problem  can  be  so  much  more  logically  found 
elsewhere. 

None  of  the  authorities  on  Bazzi  have  so  far  ac- 
corded adequate  consideration  to  the  circumstance 
that  one  year  at  least  separated  our  artist's  com-> 
missions  at  the  two  Monasteries  of  S.  Anna  and 
Monte  Oliveto  Maggiore.  The  date  of  the  last 
payment, — presumably  for  completed  work  at  the 
former, — isjune25th,^i504,  whilst  the  first  entry  in 
the  books  of  the  Mother- Abbey  does  not  occur  until 
August  loth,  1505.  This  renders  the  conjecture 
almost  a  certainty,  that  some  at  least  of  the  work 
hitherto  assigned  to  the  period  prior  to  1503  was 
actually  executed  during  this  hitherto  unnoticed 
space  of  fourteen  months.  We  would  therefore 
deem  this  the  most  fitting  occasion  to  speak  of 
a  group  of  paintings,  concerning  which  a  vast 
amount  of  speculation  has  been  rife ;  and  which 
from  their  resemblance,  justly  pointed  out  by 
Herr  Karl  Schuchhardt,^  were  probably  all  three 

^  Archivi  detti,  etc.,  vol.  xxiv.  (31)  fol.  49,  An.  1504.  (Entrata 
ed  Uscita.)  j 

"//<?;«  a  ^/  25  di  Gugnio,  dato  a  Maestro  Giovanj  Ant°  de  Verzell 
dipintore  per  integro  pagamento  de  opere  a  fato  a  dipingere  el  refetoro,  e 
per  r  oro  e  colori  uvea  posto  del  suo,  ducati  ventuno  larghi  d*  oro  in  oro : 
L.  144  "  (sic). 

2  Karl  Schuchhardt,  Op.  cit. 


Photo :  Han/staenisi. 


CHARITAS. 

ROYAL    MUSEUM,    BERLIN. 


To  face  p.  85. 


AN   ALLEGORICAL   CYCLE  85 

painted  at  the  same  time :  possibly  in  the  course 
of  this  particular  year.  These  are :  the  Judith 
in  the  Siena  Academy,  the  Lticretia  in  the 
Kestner  Museum  at  Hanover,  and  the  Charitas 
in  the  Royal  Gallery  at  Berlin.  Since  these  pic- 
tures are  almost  of  a  size  ;  in  details  bear  a  close 
similitude  to  each  other ;  and  might  furthermore, 
through  but  a  very  slight  stretch  of  the  imagina- 
tion, even  be  held  to  symbolise  the  three  Cardinal 
Virtues  :  Faith,  Fidelity  to  her  Marriage  Vow, 
Lticretia ;  Hope,  the  Saviour  of  her  besieged 
fellow-citizens,  y^<///^;  and  Charity,  Charitas  \ — it 
would  seem  not  unlikely  that  they  formed  part  of 
an  Allegorical  Cycle:  companion  paintings  for  some 
nobleman's  palace,  possibly  that  of  the  tyrant 
Pandolfo  Petrucci.^  This  last  proposition  is  put 
forward  by  Schuchhardt ;  despite  his  rejection  alto- 
gether of  the  Charitas  as  the  work  of  Bs.zzi,  and 
his  proposal  to  date  all  these  pictures  somewhat 
later  :  i.e.  after  the  Monte  Oliveto  work. 

Schuchhardt's  reasoning  with  regard  to  the 
S.  Anna  and  Monte  Oliveto  frescoes  is  well  worthy 
of  careful  attention.  He  very  pertinently  compares 
the  similitude  in  type^  and  in  landscape^  of  both 

^  The  fabric  of  the  Palazzo  del  Capitano  was  completed  about  1504, 
though  the  decorations  of  the  interior  continued  for  several  years  later. 

2  Schuchhardt  very  truly  points  out  that  the  combination  oi  Judith 
and  Lucretia  was  by  no  means  uncommon  among  Renaissance  painters, 
German  and  Dutch  as  well  as  Italian. 

^  Cf.  MoreUi  {Delia  Pittura  Italiana  cit.,  p.  150,  note  i),  who  tells  us 
that,  according  to  Vasari,  Bazzi,  Cesare  da  Sesto,  and  Gianpetrino  all 
studied  landscape  from  the  same  source — namely,  under  Bernazzano,  a 
landscape  painter  of  renown  in  his  day.  Vasari,  however,  mentions 
Bernazzano  in  connexion  with  Cesare  da  Sesto  only  {^Op.  cit.,  vol.  v. 
p.  loi),  and  there  is  no  direct  evidence  to  support  this  proposition  as 
regards  Bazzi.  ' 


86  EARLY   FRESCOES   AND    PAINTINGS 

series  with  parallel  details  in  the  "Allegorical 
Cycle  " ;  but  he  looks  upon  the  frescoes  as  leading 
up  to  the  "Allegories."  He  even  goes  so  far  as  to 
suggest  that  the  very  seductive  and  charming  figure 
in  the  Temptation  of  the  Monks  at  the  latter  con- 
vent, is  an  ideal  sketch  for  the  Lucretia.  Let  us 
reverse  the  argument.  The  S.  Anna  frescoes,  he 
says,  exhibit  elemental  characteristics  similar  to 
those  of  the  three  female  figures  ;  characteristics) 
that  have  ripened  and  developed  in  the  later  series. 
Why  should  we  not,  then,  place  the  "Allegories"  be- 
tween the  two  cycles  of  fresco-paintings?  However 
clearly  they  may  manifest  the  signs  of  maturer 
genius,  they  cannot  surely  be  dated  much  later  than 
th.^  Monte  Oliveto  work?  Might  we  not  suggest 
rather  that  the  dancing  figure,  instead  of  consti- 
tuting a  delineation  for ,  ox  forecast  of,  is  in  point 
of  fact  the  cortipleted  evolution  of  the  Lticretia 
I  dean 

The  German  critic  goes  on  to  describe  the  affinity 
between  these  paintings  and  the  Deposition  already 
described ;  which,  as  we  have  observed,  all  the 
modern  experts — except  himself,  and  recently  Prof. 
Rossi  ^ — would  now  date  earlier  than  the  S.  Anna 
undertaking.  Might  not  XhtDeposition  be  assigned 
to  this  year  also,  and  the  predella-paintings,  which 
are  without  doubt  of  inferior  workmanship,  be  that 
of  the  garzone  above  referred  to?  Since  Bazzi 
spent  barely  one  year  at  S.  Anna,  no  notable 
change  in  his  style  need  be  expected. 

There  likewise  existed  at  this  period,  we  are 
told,  in  the  Church  of  S.  Francesco  at  Siena,  a 

^  Rossi,  Op.  cii.y  p.  lo. 


"CHRIST    BEARING    HIS   CROSS"      87 

Christ  bearing  His  Cross}  This  painting  actually 
perished — or  is  said  to  have  perished — in  the  great 
fire  on  August  24th,  1655.  Several  authorities 
submit  that  the  fragment  of  a  similar  painting,  now 
in  the  possession  of  Count  Costa  de  Beauregard 
at  Chamb^ry,  and  described  in  great  detail  by 
P.  Bruzza,^  may  perhaps  be  a  surviving  relic  of 
this  once  far-famed  work.  This  suggestion,  how- 
ever, as  Faccio^  points  out,  falls  to  the  ground, 
since  the  inscription  on  the  panel,  while  erroneous 

^  Some  confusion  of  ideas  appears  to  prevail  concerning  this  picture. 
Delia  Valle  {Op.  cit.,  torn.  iii.  p.  275)  writes  that  "Oltre  a  queste  opere 
dipinse  in  Siena  per  la  Chiesa  di  S.  Francesco  la  storia  dell'  Invenzione 
della  Croce,  un  Crista  che  porta  la  Croce,  la  quale  tavola  a'  tempi  del 
Mancini  era  nella  Cappella  del  Cardinale  Salviati."  This  description 
appears  to  point  to  the  existence  of  more  than  one  subject  included  in 
the  same  composition :  and  an  anonymous  MS.,  contemporary  with  the 
fire  in  1655,  again  refers  to  it  as  a  tavola.  Canonico  Lusini  {Op.  cit., 
p.  127),  however,  quotes  from  the  report  of  Mgr.  Bossio's  Visitation, 
referred  to  already,  as  follows  :  ^^figiira  S.  Helencz  in  muro  depicta  ;  et  in 
medio  aderat  crux  aenea  magna.''  From  the  same  author  we  learn  that 
this  work  adorned  the  altar  of  the  Buoninsegni  (not  Buonsignori)  family, 
and  we  read  in  De  Angelis  {Op.  cit.,  p.  126,  note  3)  that  the  chapel  at 
the  time  of  Mancini  belonged  to  Cardinal  Salviati.  Mancini  {Op.  cit.) 
further  informs  us  that  a  Way  of  the  Cross,  by  Bazzi,  from  the  Chapel  of 
the  ^^ Palace"  of  Cardinal  Salviati,  was  in  his  time  in  the  possession  of  a 
family  of  tailors  of  the  name  of  Fedeli.  De  Angelis  adds  that,  after  the 
fire,  Antonio  Nasini  painted  another  Invention  of  the  Cross,  into  which 
was  introduced  a  figure  of  S.  Pietro  d'  Alcantara. 

^  Bruzza,  Op.  cit.,  p.  28. 

'  Faccio,  Op.  cit.,  p.  77.    The  inscription  runs  thus  : 
lo    AN.    Cavale°r 

DE      VeRCEI      1500 
CV   D  ESTR VCT A 

FvissET  Maserivs 

Reparavit  1541. 
The  restorer  might  have  made  mistakes  over  the  dates  of  the  painter's 
history,  but  hardly, — unless  the  whole  inscription  is  a  forgery, — in  that 
of  his  own  restorative  work.  The  only  other  solution  to  satisfy  the  pro- 
position is  that  the  previous  inscription  refers  to  an  older  restoration 
prior  to  the  fire  in  1655. 


88  EARLY   FRESCOES   AND    PAINTINGS 

also  in  part,  distinctly  sets  forth  that  the  painting 
was  restored  by  one  Maserius  in  1541. 

A  concatenation  of  circumstances,  concerning 
which  our  information  is  but  scanty,  led  the  steps 
of  our  hero  to  the  convent  of  Monte  Oliveto  Mag- 
giore,  near  Chiusuri ;  where  the  month  of  August 
1505  found  him  at  work  for  the  monks.  The 
presumption  is  legitimate  that,  the  fame  of  his 
genius  having  gone  forth,  his  employment  had  been 
assured  by  fair  and  just  means,  rather  than  by  arts 
of  flattery  successfully  exercised,  as  Vasari  ^  would 
have  us  believe,  upon  the  then  General  of  the 
Order.  Frizzoni  ^  quotes  the  following  important 
passage  from  the  Convent  chronicles  (vol.  i.  p.  45) : 
Secunda  abbatiatiis  stti  (Domenico  Airoldi  of  Lecco) 
electione  (i.e.,  from  May  i6th,  1497,  to  April  nth, 
1 501)  clans  tri  magni  intercolumnia  in  dexter  a 
ingressus  monasterii  parte  posita,  quae  occi- 
dentalern  respichmt  plagam,  eo  auctore,  mira  et 
arte  et  impensa  a  celeberriniis  pictoribus  depicta 
ftiere.  Et  reliqua  clatistri  intercolumnia  siniili 
opere  exornasset  nisi  pic torum  necessitatus  obsti- 
tisset  discessus.  These  painters  can  only  have  been 
Signorelli,  and  an  unknown  craftsman, — perhaps 
an  assistant, — of  whose  inferior  compositions  some 
figures  on  the  pillars  opposite  the  master's  work 
are  all  that  remain.  Signorelli  was  called  away  to 
Orvieto  in  1498,  but  the  chronicle  takes  up  the  tale 
as  follows  :  Habit  a  tanien  hac  tertia  ejus  electione 
(anno  1505,  idibus  aprilis)  aliquanta  et  temporis 

1  Vasari,  Op.  cit.,  p.  381, 

2  P>izzoni,  Op.  cit.,  pp.  1 13,  1 14.    Cf.  also  "  Guida  Artistica  della  Cittd 
e  contorni  di  Siena."     Siena:  Tip,  Sordo-Muti,  1883,  p.  184. 


O 

s 

W 

~Q      .  w 

£Q    '^  3 

>:    fa  3 

fa   !3  S 

Ci  > 

O     a;  o 

^     H  w 

^     ^  i 


?i^   E 


t> 


MONTE    OLIVETO    MAGGIORE  89 

ititercapedine  et  peamiartim  coimnoditate  .  .  . 
incoeptum,  ut  sapientis  est,  tandem  opus  complere 
decrevit.  Et  orientalem  tneridionalemque  claiistri 
partem,  etsi  diver  so  pictore,  hand  tamen  inferiore 
pictitra,  decoravit.  Et  nisi  pictoris  incuria  ad- 
f ids  set,  nniversum,  ut  optabat,  jam  jam  perfect  um 
esset  opus.  This  passage  can  only  be  construed  as 
an  allusion  to  Bazzi's  dilatory  methods.  It  would 
seem  to  infer  also  that  the  delay  in  completing  the 
decoration  of  the  cloister  arose  in  part  from  want 
of  money,  and  in  part  from  the  fact  that  Fra 
Domenico  was  not  occupying  the  abbatial  chair 
between  the  years  1501  and  1505. 

Legends  innumerable  in  connection  with  this 
undertaking  have  sprung  up  and  flourished  in 
luxuriant  growth  around  Bazzi's  doubtless  some- 
what exuberant  personality  and  conduct.  The 
most  absurd,  perhaps,  is  that  recorded  in  all 
seriousness  by  Delia  Valle,^  to  the  effect  that  the 
figure  of  a  youth  beside  the  painter's  portrait  in 
the  scene  of  The  Broken  Cribble,  whose  semblance 
recurs  continually  throughout  the  series,  is  the 
presentment  of  his  own  wife,  Beatrice  de'  Galli, 
'' ves  tit  a, ''sdiys  the  excellent  father, ''  alia  Spart  ana  T 
Dom  Gregoire  Thomas,  in  his  work,  LAbbaye  de 
Mont-Olivet-Majeur,^  strays  even  farther  along  the 
path  of  unbridled  fancy,  and  calls  the  boy,  whom 

^  Delia  Valle,  Op.  cit.,  p.  258.     He  adds  the  quotation  : 
"  Nudo  genu,  nodoque  sinus  collectejluentes." 
Virgil,  ^neid,  Lib.  I.,  line  324.     He  also  states  that  a  Madonna  depicted 
in  the  General's  apartments  is  another  portrait  of  the  same  lady. 

^  Dom  Gregoire  Thomas,  VAbbaye  de  Mont-  Olivet-Majeur.  Florence : 
Le  Monnier,  1881.  (This  mistake  is  repeated,  we  regret  to  be  compelled 
to  state,  by  the  writer  of  the  latest  Guide  to  the  Convent.) 


90  EARLY   FRESCOES   AND    PAINTINGS 

the  youth  is  leading  by  the  hand,  Bazzis  daughter 
Faustina  ''who  married  master  RiccioT  These 
worthy  clerics  exhibit  a  fine  disdain  for  chronology 
and  the  sequence  of  events ;  for  whereas  this  fresco 
must  have  been  completed  between  1505  and  1508,  ^ 
Bazzi  was  not  married  before  June  15 10,  and 
Faustina  was  not  born  till  August  151 2.  Another 
tale  runs  as  follows  :  Bazzi,  who  told  the  General, 
(as  Messer  Giorgio  asserts),  that  "his  brush  would 
only  dance  to  the  jingling  of  coin,"  while  engaged 
upon  the  Te^nptation  of  the  Monks,  so  exasperated 
his  employer  by  his  procrastination  in  completing 
and  exhibiting  the  work,  that  at  length,  out  of  all 
patience,  the  General  ordered  the  covering  to  be 
withdrawn  forthwith.  This  unexpected  action 
revealed  all  the  principal  figures  in  a  state  of  nudity; 
and  great  was  the  horror  and  scandal  of  the  monks 
at  such  •'  lewdness."  Vasari  relates  this  incident 
in  terms  of  real  or  feigned  indignation,  condemning 
Bazzi's  conduct  as  an  act  of  the  grossest  indecency, 
devised  with  malice  prepense.  Now,  a  few  moments' 
reflection  should  suffice  to  show  that,  far  from 
constituting  a  breach  of  decorum,  worthy  of  the 
strongest  reprobation,  the  nude  figures  were  in 
reality  greatly  to  the  painter's  credit,  and  would 
entitle  him  to  special  encomium.  They  showed 
all  beholders  the  care  with  which  the  artist, — in 

^  It  is  on  May  5th,  1505,  that  the  entry  occurs  in  the  books  recording 
the  gift  to  the  painter  of  the  handsome  garments,  in  which  he  has  repre- 
sented himself ;  and  which  had  belonged  to  the  newly-received  brother, 
Fra  Giovanni  Ambrogio  da  Milano.  Probably  the  fresco  was  executed 
about  that  date.  Most  authorities  speak  of  these  garments  as  a  gift^ 
whereas  the  entries  in  the  ledgers  prove  that  they  were  debited  to  his 
account^  and  thus  constituted  into  2^  purchase.     Cf.  p.  ()^,  post. 


"THE  TEMPTATION  OF  THE  MONKS"   91 

obedience  no  doubt  to  his  early  training, — had  first 
drawn  all  the  figures  in  this  great  composition 
undraped.  This  view  is  further  supported  by  the 
circumstance,  pointed  out  by  Don  Luigi  Perego,^ 
that,  had  the  figures  been  completed  nud^,  and  were 
their  clothing  an  afterthought,  as  Vasari  avers,  the 
action  of  time  would  long  ere  this  have  removed 
the  overlaying  coat  of  paint,  and  the  figures  in  their 
original  condition  would  have  reappeared  to  our 
view.  In  support  of  the  above  proposition.  Padre 
Perego  instances  how  in  another  fresco  of  the  series 
a  beard,  painted  on  to  the  clean-shaven  chin  of  one 
of  the  monks  represented,  is,  through  the  action  of 
the  weather,  coming  away  piecemeal,  disclosing  the 
earlier  drawing  underneath.  The  learned  father 
suggests,  as  an  explanation,  that  the  artist  effaced 
and  repainted  the  entire  dexter  portion  of  the 
composition.  We  prefer  to  believe  that  Bazzi's 
procrastination  and  the  General's  impetuous  haste 
revealed  work  actually  incomplete,  but  sufficiently 
advanced  to  offend  the  scruples  of  holy  men  un- 
acquainted with  technical  demands.  Just  a  shade 
of  credibility  attaches  to  the  theory  that  the  painter 
may  have  desired  to  mark,  by  the  very  nudity  of 
these  lovely  figures,  the  exceeding  profligate 
intent  of  the  wicked  monk  Fiorenzo ; — a  lesson, 
in  monkish  opinion,  apparently  of  too  strong  a 
flavour.  Be  it  observed,  .S.  Gregory  s  own  words 
in  describing  the  event  in  wS.  Benedicfs  Life  would 
bear  out  this  argument  and  uphold  our  reading 
of  the   painter's   ideal  conception.     The  learned 

^  Don  Luigi  Perego,  Guida  Illustrate  di  Monte  Oliveto  Maggiore. 
Siena,  1903,  pp.  113-14. 


92  EARLY   FRESCOES   AND    PAINTINGS 

Saint  says  (cap.  viii.) :  *'  Fiorenzo,  not  being 
able  to  kill  the  body"  (as  he  had  tried  to  do  by 
poison,  etc.),  ''endeavoured  to  destroy  the  so^l. 
He  sent  therefore  seven  girls,  who  danced  naked 
before  the  monks,  and  excited  in  their  minds 
lewd  thoughts."  But,  whatever  the  facts  and  the 
construction  put  upon  them,  the  bare  suggestion 
does  not  justify  a  reckless  accusation  of  indecent 
proclivities  upon  the  artist's  part ;  whilst  at  all 
events  we  may  rest  assured  that  the  consternation 
produced  by  the  General's  precipitancy  would 
have  afforded  our  lively  friend  unlimited  scope 
for  unholy  mirth. 

The  historical  character  of  our  narrative  does  not 
admit  of  our  giving  a  full  description  of  the  entire 
series  of  thirty-one  paintings  executed  here  by 
Bazzi  in  the  three  years  from  August  1505  to 
August  1508;  but  we  may  glean  many  interesting 
and  even  entertaining  facts  and  hints  from  the 
study  of  the  entries  set  down  to  his  account  in  the 
Monastery  ledgers. 

We  note,  to  commence  with,  many  items  con- 
cerning the  animals  he  kept  at  the  convent. 
Disbursements  for  stabling,  oats,  harness,  shoeing, 
and  even  veterinary  charges  for  his  horse  occur 
frequently.  We  mark  besides  two  special  notices 
of  a  contract  entered  into  with  the  Abbot,  to  date 
from  October  1506,  for  forage  and  the  housing  of 
this  animal.  We  are  told  that  this  horse, — a  dark 
bay  (a  favour  te  colour  with  our  hero), — was  called 
"  the  little  dragon  "  [el  Draghettd).  We  hear  like- 
wise of  hens  kept  in  the  cloister  by  his  ''gar zone' 
Mcirchionne;  of  purchases  of  barley;  and  of  ''millet 


THE  CONVENT  ACCOUNTS  93 

for  the  birdsT  In  the  fresco  containing  his  portrait 
we  make  acquaintance  with  that  most  cherished 
of  his  possessions,  the  celebrated  talking  raven ; 
besides  a  badger,  some  guinea-pigs,  and  one  swan 
at  least.  There  are  numerous  items  of  clothing 
supplied  to  him  and  his  assistants :  payments 
for  black  Florentine  hose,  material  for  shirts  and 
doublets,  the  making  and  mending  of  shoes,  and 
even  a  razor ;  whilst  three  separate  entries  refer 
to  specially  magnificent  wearing  apparel.  Two 
of  these  concern  the  fine  collection  of  garments 
belonging  to  the  Milanese  novice  mentioned  by 
Vasari,^  in  which  we  behold  Giovan  Antonio 
resplendent  in  fresco  to  this  day;^  attire  for  which 
he  is  debited  with  35  gold  ducats  (=  245  lire)  in 
the  Monastery  accounts.  It  is  round  entries  of 
this  kind  that  many  piquant  tales  of  our  artist's 
extravagancies  have  no  doubt  been  woven. 

On  the  other  hand  proofs  of  his  industry  are  not 
lackingeither.  Items  such  as terraverde,  giallolino, 
and  other  materials  for  his  work  recur  frequently; 
and  more  than  once  there  appear  entries  of  pay- 
ment for  three  hundred  sheets  of  gold  leaf,  gold 
paint,  and  for  "round  panels  of  wood"  (tondi  di 

^  Vasari,  Op  cit.,  p.  383. 

2  Archivio  di  Stato  di  Siena.  Libro  (T  Amministrazione  deW 
Archicenobio  di  Monte  Oliveto  Maggiore presso  Chiusurri.  Segnato  LP. 
Item,  a  d\  cinque  di  magio  hebbe  una  cappa,  uno  giubone  di  velluto, 
uno  burrico  di  velluto  negro.  Item,  uno  paio  di  calze  di pavonazo  chiaro, 
una  birretta  negra,  un  cappello  con  la  benda  di  seta,  uno  feltro  da  cavalcare, 
cioe  uno  gabbano,  uno  paio  di  scarpe  di  velluto,  una  spada,  due  camise 
lavorate,  quali  erano  di  fra  Giovanni  Ambrogio  nostro  frate  et  eranno 
rimasti  di  accordo  di  prezzo  di  sapra  dette  cose  et  abia  a  pagare  ducati 
d'oro  trenta  cinque,  quali  luy  confessb  havere  havuti  da  me  frate 
Evangelista  da  Viterbo  celleraio.  Ciol  lire  ducenth  quarantacinque  .  .  . 
Cio^  L.  245.     Cf.  also  Appendix  No.  8. 


94  EARLY   FRESCOES   AND    PAINTINGS 

legno),  and  the  carriage  thereof  from  Siena,  showing 
that  his  work  during  his  sojourn  at  Monte  Oliv^to 
was  not  confijted  solely  to  the  painting  of  the 
frescoes.  We  notice,  too,  that  meat  is  bought, — 
and  once  we  read  of  ''thrushes"  purchased  ''per  li 
garzoni,  et  infermi  et  depentoriy  or  per  infermi, 
depentori  e  famiglie  "  :  proof  that,  if  the  monks' 
fare  was  often  of  the  plainest,  their  sick,  their 
dependants,  and  their  guests  were  not  neglected. 
It  is,  however,  worthy  of  remark  in  respect  of  these 
entries,  that  throughouttheentire  series  of  accounts, 
which  arebothprolixandsomewhatconfusing,  owing 
to  frequent  reiteration  of  the  same  item,  the  name 
Matazo  (presumably  intended  for  J/<3!//<a!<:a6>)occurs 
but  once,  and  that  in  the  first  entry.  Should  no 
weightier  authority  exist  for  Vasari's  assumption,^ 
that  Bazzi  went  generally  by  that  name,  we  can  only 
place  the  statement  upon  the  same  plane  with  his 
other  far-fetched,  and — as  time  has  shown — unwar- 
ranted conclusions.  Yet,  while  Vasari's  lead,  unless 
corroborative  evidence  be  forthcoming,  is  not  one 
to  be  followed  uncritically,  we  are  bound  to  admit 
that,  since  at  some  time  in  1530-31,  according  to 
that  writer's  autobiography,  he  was  the  guest  of 
Don  Miniato  Pitti  (for  that  year  '' Vicario''  of 
S.  Anna  in  Camprena),  he  must  at  least  be  credited 
with  the  gift  of  picturesque  representation  of  the 
celebrated  artist's  "ploys"  at  the  Mother  House 
twenty-five  years  earlier.  These  had  no  doubt 
remained,  and  continued  for  many  years  subse- 
quently, to  be  the  solace  and  talk  of  conventual 
leisure  hours.  It  is  strange,  though,  that,  having  seen 

^  Vasari,  Op.  cit.,  p.  399. 


VASARI'S    FICTIONS  95 

the  frescoes  at  S.  Anna,  he  should  set  down  these 
works,  and  the  more  important  cycle  at  Monte 
Oliveto  Maggiore,  in  their  wrong  chronological 
order.  It  might  be  that  most  of  the  facts  concerning 
them  had  reached  him  in  garbled  form  even  then, 
and  were  not  cast  into  shape  until  many  years  had 
elapsed  ;  when  he  added  his  own  store  of  anecdote 
acquired  on  this  occasion  to  the  information  drawn 
from  the  several  tainted  sources  we  have  referred 
to  earlier  in  this  work.  Whether  Vasari  ever 
visited  the  Mother  House  seems  uncertain.  The 
erroneous  sequence  of  his  chronology  renders  this 
a  moot  point.  But  there  is  no  doubt  that  his 
opinions  were  highly  coloured  by  second  and 
third  hand  reminiscences,  in  which  some  grains 
of  truth  lie  concealed  amid  a  deal  of  imaginative 
gossip. 

Excepting  in  the  single  instance  above  men- 
tioned, our  artist  is  always  described  in  the 
Monastery  ledgers  as  Giov mini  Antonio  depentore, 
and  once  even  da  Verzelli  is  added ;  a  geographical 
suffix  that  might  have  enlightened — had  they  cared 
— the  writers  of  the  seventeenth  and  eighteenth 
centuries,  with  regard  to  his  real  origin.^ 

The  names  of  the  garzoni  in  Bazzi's  employ  at 
this  time  raise  a  number  of  particularly  interesting 
points.  Melchion  we  know  nothing  about.  He 
would  seem  to  have  left  Bazzi's  service  in  the  spring 
of  1506,  perhaps  to  abandon  painting  altogether, 

^  An  entry  occurs  in  the  accounts  on  August  28th,  1507,  of  a  gift  of 
ten  soldi  to  quello  da  Verzelli  che  andava  ad  Roma.  If  not  himself,  this 
was  perhaps  one  of  the  friends  of  his  youth,  who  may  have  visited  him 
on  his  way  south. 


96  EARLY   FRESCOES   AND    PAINTINGS 

for  no  records  concerning  him  exist  subsequent  to 
his  employment  at  Monte  Oliveto.^  The  nD\T\.e 
Marcionne  might  be  traced  to  one  of  those  inferior 
imitators,  who  are  responsible  for  several  of 
the  indifferent  paintings  scattered  about  the 
Sienese  district,  so  often  attributed  to  the  master 
himself.  **  Vincentio^'  however,  can  be  no  other 
than  Vincenzo  Tainagni  of  San  Gimignano,  an 
artist  endowed  with  a  certain  degree  of  talent,  best 
known  through  his  work  in  his  native  city,  and 
the  document^  which  records  his  imprisonment  at 
Montalcino  for  a  debt  of  25  ducats  to  his  former 
teacher,  Bazzi.^  During  his  sojourn  in  that  city  in 
1 5 ID  he  painted  a  number  of  interesting  frescoes  in 
the  church  of  S.  Francesco,''  and  in  the  chapel  of  the 
prison  itself.  Portions  of  these  still  exist,  in  which 
his  master's  style  is  so  distinctly  perceptible,  as 

^  It  is  just  possible  that  Melchion  and  Marcionne  may  be  the  same 
person. 

^  Archivio  Notarile  Provinciale  di  Siena.  151  i,  7  di  Giugno. 
Atti  anterior!  1585.  Filza  di  Eogiti  di  Ser  Niccolh  di  Poso  di  Giovanni 
Posi  da  Monf  Alcifio.  1505  al  1512,  Rep.  A.  {Atti  Notarile)  Busta  358. 
Tamagni  is  here  described  as  Vincentius  Betinardi  (sic)  Chelis  de  Sancto 
Gimignano.  The  Note  to  the  copy  of  this  document  {Mil.  Doc, 
vol.  iii.  p.  50)  draws  attention  to  the  mistake  in  the  earlier  annotated 
editions  of  Vasari,  wherein  Tamagni  is  said  to  be  the  son  of  one 
Bartolommeo  de  Chele.  But  again  the  heading  of  the  copy  of  this 
document  describes  him  as  Vincenzo  di  Benedetto  Toinagni.  (See 
Appendix  No.  ii.)  Such  information  as  is  attainable  regarding  the 
subsequent  history  of  Tamagni  may  be  found  in  Vasari  {Op.  cit.,  vol.  iv. 
p.  489  e  seg.).  It  is  perhaps  worth  noting  that,  since  he  was  born  on 
April  loth,  1492,  he  would  only  have  been  about  thirteen  or  fourteen 
years  of  age  when  at  work  with  Bazzi  at  Monte  Olive  to. 

^  He  appears  to  have  left  Bazzi's  service  in  November  1506,  for  we 
find  duplicate  entries  in  the  convent  accounts  on  the  3rd  of  that  month 
of  seven  soldi,  disbursed  to  Marchionne  to  give  to  Vincenzo,  quando 
parti. 

*  In  a  chapel  belonging  to  Ser  Niccolb  Posi,  who,  it  may  be 
observed,  was  the  notary  who  filed  the  deed  referred  to  above. 


MICHEL   ANGELO   ANSELMI  97 

to  have  engendered  an  erroneous  idea  of  their 
authorship.  1  We  are  not  aware  that  any  writer 
has  hitherto  drawn  attention  to  the  identity  of 
this  pupil,  but  the  frequent  mention  of  Vmcentio, 
besides  a  record  of  his  journey  to  San  Gimignano  on 
September  3rd,  1506,^  and  furthermore  the  entry  of 
a  payment  on  March  15th  of  the  previous  year 
of  g  carlini  a  uno  fratello  del  suo  garzone  di 
Santo  Gemignano  in  the  Monastery  accounts 
furnishes  clear  proof  of  our  contention. 

Another  disciple  whom  we  know  that  Bazzi 
had  under  his  tuition  about  this  period,  is  Michel 
Angela  A nselmi\^  but  we  do  not  find  any  reference 
to  him  by  name  in  the  books  of  either  convent. 
Anselmi's  parents — people  of  respectability  and 
good  repute  from  Parma — returned  to  their  native 
town  in  1505,  leaving  their  son  under  Bazzi's  artistic 
tutelage ;  and  he  appears  to  have  dwelt  with  him 

^  There  is  also  a  fine  fresco — a  life-size  Madonna  and  Child  with 
the  Archangels  Michael  and  Raphael  and  the  young  Tobias — in  the 
Collegiata  at  Asciano  that  may  almost  certainly  be  assigned  to  this 
painter. 

2  Apparently  on  a  visit,  because  we  find  him  again  buying 
pipkins  {pignatti)  at  the  Michaelmas  Fair  at  Chiusuri, — presumably  for 
his  master. 

^  Very  many  writers,  especially  in  guide-books,  call  this  artist  scolaro 
or  discipolo  di  Riccio;  but  this  is  absolutely  impossible,  since  he  was 
born  in  1491.  If,  as  Milanesi  (Vasari,  Op.  cit..  Commentary^  p.  412) 
states,  Riccio  was  in  his  first  youth  when  he  married  Bazzi's  daughter 
Faustina  in  1543,  he  could  not  possibly  have  been  more  than  an  infant 
when  Michael  Angelo  Anselmi  left  Siena  for  good.     Cf.  post^  p.  166. 

Antonio  Anselmi,  banished  from  Parma,  took  refuge  at  Lucca, 
where  he  found  a  wife.  There  his  son,  Michel  Angelo,  was  born,  and 
thence  the  parents  moved  to  Siena,  where  they  stayed  until  1505. 
For  further  information  concerning  this  master  the  student  may  be 
referred  to  E.  Scarabelli  Zunti,  Documenti  e  Memorie  di  Belle  Arti 
Parmigiane  (1505-50)  and  Romualdo  Baistrocchi :  MSB.  in  the  Com- 
munal Library  at  Parma. 


98    EARLY    FRESCOES   AND    PAINTINGS 

until  1 516  or  thereabouts.  Why,  therefore,  his 
name  does  not  occur  at  all  in  the  accounts,  it  is 
somewhat  hard  to  understand,  unless  it  be  that  he 
was  generally  known,  both  to  the  monks  and  to 
his  companions,  under  some  other  designation. 
He  might  perchance  be  identified  with  either  of 
the  two  first-mentioned  lads. 

The  most  interesting  and  important  paintings 
in  the  series  are  those  occupying  the  corners 
of  the  cloister:  {a)  The  Saint  leaving  his  Home; 
{b)  The  Broken  Cribble;  if)  The  Temptation  of 
the  Monks ;  (d)  The  Reception  of  the  Novices, 
Maitrns  and  Placidiis  ;  and  (e)  The  Destruction  of 
Monte  Cassino}  In  the  first-named,  there  appear 
the  types  we  so  often  meet  with  throughout  the 
cycle.  The  figure  of  the  young  S.  Benedict  is  typical 
of  all  the  young  men  (even  the  so-called  portrait 
of  Bazzi's  wife)  that  follow  in  succession.  The 
original  model  was  probably  one  of  his  ov^n  garsoni', 
whilst  the  monks  are  evidently  portraits,  and  no 
doubt  speaking  likenesses,  of  members  of  the 
community.  Bazzi,  we  are  told  by  Vasari,  having 
been  ordered  to  paint  the  portraits  of  the  Generals 
of  the  Order^ — two  and  two — under  each  "Act," 
certainly  did  avail  himself  of  the  features  of  the 
brethren  for  his  purpose.  Where  the  artist  ob- 
tained his  beautiful  female  models  it  is  not  easy 
to  say,  more  especially  since  the  types  vary  so 
considerably :    in    the    Temptation,    for   example, 

^  It  is  to  be  observed  that  Eugene  Miintz  {Op.  cit,  p.  519)  thinks 
that  this  fresco  was  in  point  of  time  the  first  of  the  series. 

2  Vasari,  Op.  cit.,  p.  383.  These  pseudo-likenesses  seem  to  have 
offerde  but  a  feeble  resistance  to  the  hand  of  time,  since  Fra  Antonio 
Bentivoglio  (apparently  Vasari's  contemporary)  ordered  their  obliteration. 


Photo:  Lombardi, 


CHOIR  OF  SINGERS. 
DETAIL  FROM   SCENE  23  OF  THE   LIFE  OF   S.   BENEDICT. 


MONTE   OLWETO   MAGGIOKE. 


To  /ace  p. 


'<?: 


-     OF  THE        r 

NIVERSITY 


Photo :  I.oinbardi, 

FEMALE   HEAD. 
DETAIL  FROM  SCENE  19.     "THE  TEMPTAriON  OF  THE  MONKS." 

MONTE   OMVETO   MAGGIOKE. 


Tojfacep  q8. 


'y 


Photo:  Lortiba7'di. 


FEMALE   HEADS. 
DETAIL  FROM  SCENE  19.     "-THE   TEMPTATION  OF  THE  MONKS.' 

MONTE   OLIVETO    MAGC;lORE. 


To  face  p.  98. 


OF  THE  ^'^ 

'^"VERstry 

Of  ' 


^ 


BAZZrS   MODELS  99 

the  several  figures  differ  notably  both  in  counten- 
ance and  form.  It  may  fairly  be  suggested, — 
indeed  it  appears  extremely  probable, — that  our 
artist  introduced  a  deeper  symbolism  into  the 
picture  than  he  is  generally  credited  with.  Why 
otherwise  should  he  have  drawn  so  marked  a 
contrast  between  the  stately,  intellectual-looking 
ladies  in  the  centre,  gazing — it  would  seem  dis- 
dainfully— at  the  two  graceful  but  lightly-clad 
damsels,  treading  their  seductive  measure,  in  the 
right-hand  corner  of  the  composition  ?  Might  not 
his  intention  be,  that  the  former  should  appear  to 
sway  the  spiritual  faculties  of  the  monastic  student- 
band  ;  the  latter  seek  rather  to  appeal  to  the 
grosser  instincts  of  the  less  cultivated  and  learned 
among  their  number  ?  To  accentuate  this  aspect 
of  the  question  it  is  conceivable  that,  while  one 
pair  are  garbed  as  princesses,  the  other  should  in 
the  artist's  mind  depend  solely  on  their  personal 
charms, — "  when  unadorned  adorned  the  most "; — ■ 
another  illustration  perhaps  of  Vice  and  Chastity : 
Sacred  and  Profane  Love. 

Animals  are  conspicuous  by  their  presence  in  all 
the  remaining  frescoes  enumerated  above,  notably 
a  most  cleverly  foreshortened  white  horse  in  the 
Destruction  of  Monte  Cassino}     The  horses,  both 

^  Berenson  {^Drawings  of  the  Florentine  Painters  cit.,  p.  125),  says, 
"  The  fact  seems  to  have  escaped  notice  that  the  spirit  of  Leonardo's 
composition  \^The  Battle  of  Anghiari'\  inspired  no  other  composition  so 
much  as  the  fresco  at  Monte  Oliveto  Maggiore  by  Sodoma,  representing 
Totila's  attack  on  Monte  Cassino."  He  further  mentions  a  fine  late 
sixteenth-century  copy  (in  the  possession  of  Mr,  H.  P.  Home,  in 
Florence)  of  the  group  representing  the  Struggle  for  the  Standard,  which 
is  in  his  opinion  the  copy  of  a  copy  by  Bazzi  from  Leonardo's  original. 
The  comments  of  a  critic  of  such  high  standing,  on  works  like  these, 


loo  EARLY   FRESCOES  AND   PAINTINGS 

of  S.  Benedict  and  of  his  nurse,  and  the  white  dog 
in  the  foreground  of  the  first  scene,  besides  the 
menagerie  described  earlier  in  these  pages,  are 
among  his  most  successful  portrayals  of  animal 
life.  Borders  of  arabesque  capricci  divide  each 
section,  and  these  alone  would  almost  enable 
us  to  assert  confidently,  that  Vasari  wrote  from 
hearsay,  and  had  not  actually  seen  these  produc- 
tions of  Bazzi's  brush ;  for  whilst  he  describes 
the  whole  as  full  of  lewdness,  these  grotesques, 
in  which  a  vivid  imagination  might  have  run  to 
riotous  excess,  are,  in  point  of  fact,  conceived 
throughout  in  the  most  innocent,  graceful,  and 
charming  vein.  As  is  usual  with  grotesques 
(and  the  term  itself  is  an  avowal),  contortions  and 
monstrosities  do  of  course  occur.  But  there  is 
nothing  in  them  the  least  deserving  of  Vasari's 
sweeping  reprobation.  Frizzoni^  points  out  with 
justice  the  probability  that  Bazzi  was  influenced 
in  his  arabesques  by  the  work  of  Fra  Giovanni 
da  Verona,  the  celebrated  wood-carver  and 
intarsiatore, — at  that  time  also  employed  at  the 
convent, — whose  exquisite  craftsmanship  to  this 
day  compels  our  admiration.  The  learned  writer 
goes  on  to  suggest,  and  indeed  it  is  more  than 
probable,  that  the  Friar  had  brought  with  him 
from  Venice  a  number  of  the  woodcuts  from  the 

are  always  worth  recording.  Though  confessedly  opposed  to  Bazzi's 
artistic  attitude  he  remarks  on  p.  272  of  the  same  work,  when  comparing 
his  frescoes  here  with  those  of  Andrea  del  Sarto  at  the  Annunziata 
in  Florence  {The  Story  of  S.  Philip  Benizzi)^  that  "the  Lombard  is  at 
times  almost  ravishing,  while  the  Tuscan,  though  prosaic,  shows  greater 
seriousness  of  artistic  purpose." 
^  Frizzoni,  Op.  cit.^  pp.  120-21. 


Photo:  Lombardi. 

MADONNA  AND   CHILD   WITH   AN   OLIVETAN   MONIC 
FRESCO   BY  VINCENZO  TAMAGNI. 

MONTE   OLIVEI'O    MAGGIOKE. 


To  face  p,  loo. 


^ 


MANTEGNA'S    DESIGNS  lot 

graceful  classical  designs  of  Andrea  Mantegna, 
at  that  time  already  public  property.  These,  to 
a  temperament  like  Bazzi's,  impassioned  for  new 
ideas,  could  not  fail  to  prove  a  source  of  immense 
interest  and  delight.  Possible  evidence  of  the 
above  may  be  found  in  the  composition  under 
the  window  of  the  south  side  of  the  cloister,  repre- 
senting the  Triumph  of  Neptune,  with  horses, 
marine  deities  and  sea-monsters,  clearly  recalling 
one  of  these  woodcuts.^  We  might  remark 
incidentally  that  among  the  other  frescoes  in 
the  convent  ascribed  to  our  artist  a  number  of 
inferior  paintings  cover  the  walls  of  a  small  room 
in  the  General's  apartment.  These  are  how- 
ever clearly  not  by  Bazzi,  but  might  be  attributed 
to  Tamagni,  who  was  probably  the  author  of  the 
very  pleasing  toudo, — The  Madonna  and  Child 
with  an  Olivet  an  Monk, — on  a  wall  of  the  con- 
vent linen-room.  One  small  work  by  our  artist, 
nevertheless,  usually  escapes  notice  :  an  attractive 
head, — perhaps  The  Madonna, — painted  in  fresco 
close  under  the  ceiling  of  the  principal  saloon 
in  the  suite  above  mentioned.  It  is  a  fragment 
only,  but  a  very  charming  one,  and  undoubtedly 
the  work  of  the  master  in  person.^ 

We  might  suppose,  were  we  to  judge  solely  by 

^  It  is  of  course,  however,  not  impossible  that  Bazzi  may  have  only 
renewed  his  acquaintance  or  refreshed  his  memory  with  these  designs  ; 
since,  if,  as  we  have  suggested  above,  he  had  studied  illustrated  works 
on  ancient  architecture  in  Leonardo's  bottega,  he  would  probably  there 
also  have  come  across  these  woodcuts. 

2  Frizzoni  {Op.  cit,  p.  ii6)  would  also  attribute  to  Bazzi's  own  hand 
a  Pieta  on  one  of  the  staircases ;  but  if  this  work  ever  was  by  him, — 
which  is  extremely  doubtful, — entire  repainting  has  completely  obliterated 
all  trace  of  its  original  character. 


I02  EARLY   FRESCOES  AND   PAINTINGS 

the  statements  which  have  gained  general  credence, 
that  the  time  Bazzi  spent  at  this  monastery  was 
occupied  in  little  else  than  diversion,  more  or  less 
innocent  according  to  the  individual  attitude  of 
commentator  or  biographer.  We  find  instead  that, 
in  spite  of  all  the  faults  and  omissions  imputed  to 
him,  he  must  have  worked  tolerably  hard  to  have 
carried  through  so  much  work  within  the  time 
allotted  to  him.  Vasari  accuses  him  of  neglecting 
to  make  sketches  ;  but  the  convent  registers  include 
more  than  one  entry  of  carta  reale,  which  in 
one  instance  is  distinctly  stated  to  be  '' per  fare  il 
disegno  de  la  istoria  dela  portaT  ^ 

The  frescoes  were  not  all ;  there  were  works  on 
panel  besides.  One  of  these,  indeed,  may  be  that 
lovely  round  picture,  the  Charitas,  formerly  in  the 
Chigi  Palace  at  Siena,  but  now  in  Count  Bobrinsky's 
collection  at  the  Villa  Malta  on  the  Pincian  Hill  in 
Rome.^ 

Furthermore,  we  learn  from  the  ledgers,  that  in 
1507^  our  artist  had  gone  to  San  Gimignano  and 
painted  there,  in  what  was  once  the  prison  chapel, 

^  In  the  portfolios  in  the  Uffizi,  among  the  drawings  attributed  to 
Timoteo  Viti,  there  is  (Sheet  324,  No.  1357)  a  sketch  in  sepia  and 
brownish  ink, — careful  but  unpleasantly  grotesque, — for  part  of  No.  7, 
from  the  S.  Benedict  series.  This  is  referred  to  by  Morelli  {Op.  cit., 
p.  309,  note)  as  a  study  by  Bazzi  himself  for  this  fresco.  With  all  due 
deference  to  that  distinguished  critic,  we  cannot  reckon  the  drawing 
as  a  genuine  work  of  the  master,  and  it  appears  to  have  been  made 
subsequently  by  some  inferior  hand. 

2  The  style  of  this  work  forcibly  recalls  the  group  of  three  paintings 
so  fully  discussed  earlier  in  this  chapter.  The  outer  edge  of  the  panel 
itself  bears  a  delicate  border  of  gracefully  conceived  grotesques,  quite 
in  the  spirit  of  those  at  the  two  convents. 

^  An  entry  referring  to  this  expedition  is  dated  October  nth,  1507. 
He  took  one  gold  ducat  for  his  journey  and  other  expenses. 


CHARITAS. 

BOBRINSKY  COLLECTION,    ROME. 


To /ace  p.  102. 


-^ 


SAN    GIMIGNANO  103 

a  fresco  of  6*.  Ivo  dispensing  Justice,  which  may 
still  be  seen  in  position.  It  is  a  large  painting  in 
monochrome  ;  and,  although  exhibiting  in  places 
the  marks  of  haste  and  negligence,  yet  the  carefully 
designed  arabesque  work  on  the  pilasters  in  the 
picture,  together  with  the  detail  of  a  coffered  ceiling, 
are  evidence  that  such  a  vast  composition  could 
not  have  been  dashed  off  with  but  a  few  days'  work. 
This  fresco  was  doubtless  commissioned, — maybe 
through  the  instrumentality  of  the  family  of  Bazzi's 
pupil  Tamagni, — by  Messer  Giovanni  Battista 
Macchiavelli,  at  that  date  Podesta  of  the  little 
towered  city  ;^  since  his  arms,  though  injured  and 
partly  effaced  by  time  and  human  malfeasance,^ 
are  still  discernible  upon  it.  That  Bazzi's  work 
pleased  the  citizens  of  San  Gimignano  is  certain, 
since  they  employed  the  artist  again  in  1513^ :  this 
time  to  paint  a  Madonna  and  Child  to  take  the 
place  of  an  older  fresco,"^  in  the  Loggia  under  the 
Palazzo  del  Podesta.  Fragments  of  two  putti  sup- 
porting a  curtain  are  all  that  remain  of  this  painting. 
Three  years — from  August  1505  to  August  1508 
— are  not  an  excessive  period  wherein  to  carry  out, 
— even  with  apprentice  assistance, — all  the  work 
known  to  have  been  completed  within  that  space  of 

^  Can.  Luigi  Pecori,  Storia  della  Terra  di  San  Gimignano.     Firenze, 

1853.  P-  574- 

^  Another  allegorical  work,  fragments  of  which  are  still  visible 
on  the  opposite  wall  of  the  same  room,  is  perhaps  by  Tamagni  himself. 
It  is  certainly  not, — as  some  writers  have  suggested, — the  work  of 
Giovanni  Antonio  Bazzi. 

^  Pecori,  Op.  cit.,  p.  563,  note  4.  For  this  work  he  was  paid  142  lire. 
2  Luglio  15 13.  Lib.  di  Provv.  di  Lett.  G.,  Nos.  64  and  140. 

*  This  work  was  dated  1337,  and  had  cost  the  town  10  florins.  It 
represented  The  Madonna  and  Child  with  SS.  Gimignano^  Louis,  and 
Christopher.     Pecori,  Op.  cit,,  p.  cit. 


I04  EARLY   FRESCOES  AND  PAINTINGS 

time.  We  may  reasonably,  therefore,  view  with 
suspicion,  not  untinged  with  scepticism,  the  by- 
no-means  candid  or  disinterested  criticism  of  our 
artist's  alleged  scandalous  idleness. 

The  payments  made  to  him  amounted  in  all 
to  1 56 1  lire.  For  the  larger  and  more  elaborate 
frescoes,  such  as  the  Temptation  of  the  Monks,  he 
was  paid  10  ducats  each  (=  70  lire),  and  for  the 
lesser  compositions  7  ducats  (=  49  lire). 

A  creature  of  impulse,  careless  of  the  morrow, 
and  incapable  of  long  sustained  effort,  he  certainly 
was ;  and  no  doubt  a  boon  companion  besides, 
whose  animal  spirits  roused  the  quiet  Abbey  in 
a  fashion  that  left  the  inmates  with  a  goodly  store 
of  memories  for  discourse  and  commentary  many 
years  after  his  departure  from  their  midst.  But  we 
would  ask  once  more,  whether  mirth  and  joviality 
are  necessarily  signs  of  depraved  instincts.  Were 
such  the  case,  who  would  escape  the  imputation  ? 

It  has  been  aptly  remarked  that  the  informing 
spirit  of  Bazzi's  frescoes  and  the  inspiration  of  his 
predecessor  Luca  Signorelli's  work  are  essentially 
diverse.  Signorelli's  selection  deals  almost  exclu- 
sively with  the  more  supernatural  among  the  legends 
of  S.  Benedict's  life;  such  as,  encounters  with  incar- 
nate fiends,  miraculous  foreknowledge  of  monkish 
deception,  and  so  forth.  Bazzi,  on  the  other  hand, 
while  indulging  equally  in  the  marvellous,  invests 
his  characters  with  a  more  human  aspect,  and  ap- 
peals directly  to  the  spectator's  own  sensations ;  thus 
imparting  to  the  creatures  of  his  fancy  that  sense 
of  reality — almost  amounting  to  personal  contact — 
so  noticeable  throughout  his  work.    In  both  artists 


BAZZI  ANDSIGNORELLI  COMPARED  105 

a  passionate  admiration  for  the  beauty  of  the  human 
form  is  vividly  present ;  but  whereas  Signorelli 
devotes  his  energies  to  depicting  a  realism  of 
muscular  development,  which  tends  often  to  un- 
lovely exaggeration, — and  on  that  account  seldom 
attempts  to  represent  female  beauty, — Bazzi  is 
keenly  alive  to  the  possibilities  presented  alike  by 
either  sex,  endowing  his  figures  with  a  suave  grace, 
which,  if  more  fanciful,  is  at  least  as  artistically 
satisfactory.^  Moreover,  Signorelli's  monks,  as 
Paul  Bourget  ^  remarks,  are,  in  spite  of  all  his  fine 
draughtsmanship,  but  clumsy  peasants  taken  from 
the  glebe ;  while  Bazzi's  are  full  of  a  spirit,  too  often 
wanton  and  freakish,  but  always  real  and  true  to 
nature.  Despite  recent  criticism^  regarding  his 
treatment  of  the  monastic  garb,  we  would  venture 
to  submit  that  Bazzi  has  succeeded  better  even  than 
Lippi  in  reproducing  without  monotony  the  correct 
disposition  into  which  the  folds  of  a  heavy  material 
must  of  necessity  fall.  Signorelli's  treatment  is  not 
so  successful,  and  the  lifeless  ivory-white  hue  of 
the  Benedictine-Olivetan  habit  in  his  work,  strikes 
a  jarring  note  in  his  compositions.  In  defiance  of 
Vasari's  statement  that  Bazzi  said  he  only  worked 
"when  money  jingled,"  and  despite  also  the  too 
evident   traces   of  haste   and    negligence,"*   these 

^  On  this  point  see  John  Addington  Symonds,  New  Italian  Sketches 
{Monte  Oliveto).     Leipzig:  B.  Tauchnitz,  1884,  pp.  51-56. 

'  Paul  Bourget,  Sensations  d^Italie.     Paris  :  Lemerre. 

^  E.  C.  Strutt,  Fra Filippo Lippu  London:  George  Bell  &  Sons,  1901, 
pp.  96-7. 

*  Don  Luigi  Perego  {Op.  cit.,  p.  94)  notes  one  instance  where  haste 
to  complete  might  tend  to  give  a  false  impression  of  the  artist's  ability. 
In  describing  fresco  No.  14  {S.  Benedict  at  the  Prayers  of  the  Monks  draws 
Water  from  a  Rock),  he  points  out  that  among  the  fourteen  monastic 


io6  EARLY  FRESCOES  AND   PAINTINGS 

frescoes  breathe  such  a  joie  de  vivre  that  neither 
time  nor  injudicious  restoration^  can  detract  from 
their  subtle  charm.  The  late  reverend  Abbot, 
Don  Gaetano  di  Negro,  desiring  to  preserve  these 
masterpieces  from  further  injury,  very  wisely  closed 
in  the  cloister  with  glass  ;  but  we  could  have 
wished  that,  in  redecorating,  there  had  been  some 
one  at  hand  to  place  a  check  upon  the  lavish  use 
of  scagliola  (to  imitate  coloured  marble),  which 
now  surrounds  these  beautiful  works  of  art,  and 
introduces  a  disturbing  element  in  the  symphony 
of  delicate  and  subdued  colour. 

figures  in  the  composition,  only  four  hands  are  visible.  It  is  true  that 
monks  do  conceal  their  hands  in  their  wide  sleeves,  so  that  the  painter 
on  his  side  had  reason  in  not  delineating  more  than  were  needed  for  the 
action  of  the  story ;  but  the  worthy  father  takes  care  to  lay  stress  upon 
the  point,  that  the  artist  probably  concealed  them  to  save  himself  trouble, 
and  not  because  he  could  not  paint  hands.  Hands  are  in  point  of  fact 
one  of  the  most  strikingly  beautiful  features  in  all  his  work. 

^  Romagnoli  (C^.r/V.)  states  that  the  frescoes  were  restored  between 
1800  and  1830,  and  by  no  means  improved  thereby. 


CHAPTER  V 

FIRST   VISIT   TO    ROME 

Most  writers  and  critics  have  fixed  upon  1507  as 
the  date  of  Bazzi's  first  visit  to  Rome ;  and  formerly, 
indeed,  upon  the  authority  of  Vasari,  he  was 
supposed  to  have  completed  all  his  undertakings 
there  during  one  single  visit.  This  proposition  is 
nevertheless  a  point  widely  disputed  by  divers 
authorities.  The  publication  of  the  Monte  Oliveto 
Maggiore  documents  has  elicited  one  hitherto 
unknown  fact :  namely,  that  our  artist  could 
under  no  circumstances  have  begun  to  paint  in 
Rome  Mntil  the  autumn  of  1^08 ;  ^  since  records 
of  payments  and  advances  of  money  recur  in  the 
Monastery  accounts  as  late  as  August  22nd,  when 
a  final  settlement  was  effected  with  him,  apparently 
in  person?  It  is  undoubtedly  true,  that  Agostino 
Chigi  did  come  to  Siena  in  1507  to  negotiate  the 
sale  of  Port'  Ercole  ;  and  if  we  read  Vasari  literally, 
we  might  surmise  that  Giovanni  Antonio  journeyed 
to  Rome  in  his  train  during  that  year.  This  sug- 
gestion might  hold  good  if  we  understand  the  entry 
''  quello  da  VerzellV  in  the  convent  ledgers  dated 

^  Some  of  the  later  writers  on  Bazzi  seem  even  to  wish  to  limit  his 
stay  at  the  convent  to  one  instead  of  three  years.  For  example,  Faccio, 
Op.  cit.,  Chronological  list  ;  Priuli  Bon,  Op.  cit.,  Chronological  list. 

^  Archivio  di  Stato  di  Siena.  Libro  d' Amministrazione  dell' 
Archicenobio  di  Monte  Oliveto  cit.     1508,  22  di  Agosto. 

107 


r^ 


108  FIRST   VISIT   TO    ROME 

August  28th,  1507,  to  refer  to  our  artist:  but  that  he 
could  not  have  remained  there  long  is  evident  from 
these  selfsame  accounts.  He  may  indeed  have  been 
invited  by  his  eminent  patron^  to  pay  a  visit  to  the 
Eternal  City,  where  perhaps  he  arranged  to  return 
in  the  following  year,  so  soon  as  his  commission  at 
the  convent  should  have  been  terminated.  Or  again, 
Agostino  Chigi's  departure  to  Rome  may  have  been 
deferred  until  1508,  when  the  painter  could  well  have 
accompanied  his  protector.  The  fact  that  Bazzi  did 
not  enter  upon  his  work  at  the  Vatican  un^i/  the 
autMinn  of  that  year  is  proved  also  by  a  document 
dated  October   13th,   1508,  quoted  by  Cugnoni,^ 

^  Bazzi  probably  obtained  his  introduction  to  the  Chigi  from  his 
earhest  Sienese  patrons,  the  Spannocchi,  who  were  commercial  allies  of 
the  great  bankers. 

^  C.  Cugnoni,  Agostino  Chigi  il  Magnifico.  Archivio  della  Societk 
Romana  di  Storia  Romana,  vol.  ii.  p.  485,  note  89.    Roma,  1878. 

"Die  xiii.  Octobr.  1508,  Ma*""^  D.  Sigismundus  Chisius  p'misit  quod 
Magr.  lo  Ant.  de  bazis  de  Vercellis  pictor  in  Vrbe  pinget  in  Cameris 
S.  D.  pp  superiorib.  tanta  opera  q  extimabitur  fact.  p.  50  duos  de  car"'" 
Xp  due,  quos  p'"'  lo.  Ant,  confessus  fuit  recepisse  p  manus  D.  Hier. 
fran"'  de  Senis  computis  fabricar.  p*'  S.  D.  N.  ad  bonum  computu. 

"  Rome  in  bancho  p"  D.  Sigis  pntib.  Ant°  luti  capserio  dicti  banchi  et 
Mariano  del  peccia  laicis  Senen.  Andreas  Centolynus," 

This  work  is  based  chiefly  on  Fabio  Chigi's  Life  of  his  celebrated 
ancestor,  which  exists  in  MS.  in  the  Chisian  Library  in  Rome.  Fabio 
Chigi,  who  afterwards  became  Pope  under  the  title  of  Alexander  VII., 
compiled  this  Life  nearly  a  century  after  the  death  of  its  subject,  from 
various  authors ; — mainly,  he  states,  from  Sigismondo  Tizio,  who  was  a 
younger  contemporary  of  Agostino. 

That  Sigismondo  Chigi  was  as  valuable  a  friend  to  the  artist  as  his 
brother  Agostino,  is  also  proved  by  an  extract  quoted  by  the  same 
writer  {Op.  cit.,  p.  61,  note  89)  from  the  Coimnentaries  of  Fabio  Chigi 
as  follows  :  "  Aedificavit  [Sigismundus]  domus  superiorem  partem,  que 
Senis  ad  forum  extat,  spectatque  viam  [quae  dicitur]  Casati;  aedificatam 
a  Patre  contiguam  partem,  quae  viam  spectat  S.  Salvatoris,  Malborghetto 
olim  nuncupatam,  lateritia  facie  exornavit,  cum  ruinam  minitaretur 
anno  MDX.  Laquearibus  texit  contignationes ;  cubilia  praecipue  duo 
exornavit.     In   altero   per   lacunar,    in    altero    per    parietes    dispositis 


SIGISMONDO   CHIGI  109 

and  by  Miintz,^  and  referred  to  by  Crowe  and 
Cavalcaselle,^  in  which  Sigismondo  Chigi,  brother 
to  Agostino,  tenders  security  that  Bazzi  shall 
execute  certain  work  upon  the  ceiling  of  the 
Camera  della  Segnatura  to  the  value  of  50  ducats. 
The  above-mentioned  writers,  moreover,  point  out, 
that  since  neither  Albertini,^  nor  the  records  of 
the  Vatican  Office  of  Works,  mention  Raphael's 
name  during  the  winter  of  1508-9,  it  is  probable 
that  the  latter  was  not  summoned  until  the  fol- 
lowing spring.     Thus  Bazzi  would  have  had  six 

luculamentis,  et  quasi  areolis  picturas  coUocavit  eximias ;  et  lacunar  q-dem 
fabulas  ab  Ovidio  desumptas  ostendit,  parietes  vero  alterius  cubiculi  et 
aversa  hostia  ac  fenestrae  Julij  Caesari  gesta  scripto  circum  in  zophoro 
Epigrammate  minime  malo 

Flevit  Alexandri  Caesar  cum  vidit  honores, 

Concepitque  animis  aequora,  regna,  polum. 
Inde  triumphatum  circumtulit  arma  per  orbem, 

Tantum  ingens  virtus,  aemula  facta  potest. 
Quisquis  in  hac  igitur  defiget  imagine  vultus, 
^3mulus  is  Magni  Caesaris  esse  velit. 
Sub  quaque  etiam  areola  depicta,  et  aliae  sunt  inscriptiones ;  omnia  eius 
artificis  opera,  qui  anteriorem  quoque  domus  faciem  pinxit,  Johannes 
Antonio  Vercellensis  cognomento  Sodoma.  .  .  .  ^dem  praeterea  S.  Bar- 
tholomei  consimili  excitavit  impendio,  fornice  picto  stellatoque  supra 
Coronani,  quae  e  topho  aurato  est,  incubante  sacris  additis  instrumentis, 
ac  postea  super  aram  Tabula  a  lo.  Antonio  Sodoma  depicta.     Quam  bella 
gerente  Carlo  V.  contra  Senensium  Remp.  a  militibus  abreptam  Hispanis, 
et  ad  oppidum  Collis  Vallis  Elsae  translatam  scribit  Julius  Mancinus, 
Senensis  Urbani  VIII.  medicus  ac  intimus  cubicularius  in  suo  opere  de 
Pictura." 

It  should  be  observed  also,  that  in  1507  Sigismondo  had  married 
Sulpicia,  daughter  of  Pandolfo  Petrucci ;  so  that  he  too  would  have  been 
in  Siena  during  that  year. 

^  Miintz,  Raphael.     Op.  at  (large  edition,  1882),  p.  307,  note. 
2  J.  A.  Crowe  and  C.  B.  Cavalcaselle,  Raphael:  his  Life  and  Worhs, 
vol.  ii.  pp.  10-14.     London :  John  Murray,  1885. 

'  Opusculum  de  Mirabilibus  NoV(e.  et  Veteris  Urbis  Ronice  editum  a 
Francisco  de  Albertinus  Clerico  Florentino  dedicatumque  Julio  Secondo 
Pont.  Max.  Roma,  Febb.  3rd,  15 10. 


no  FIRST   VISIT   TO    ROME 

months  at  least,  in  which  to  bring  forth  his  ideas, 
before  Pope  Julius  II.  should  order  everything  to  be 
erased. 

Our  painter  once  in  Rome  found  himself  in  the 
midst  of  an  excellent  company ;  since  nearly  all 
the  most  celebrated  artists  of  the  day  had  been 
called  thither  by  the  haughty  Pontiff  to  decorate 
his  new  apartments,  and  to  carry  out  various 
other  stupendous  works  to  perpetuate  the  fame  of 
his  pontificate.  The  list  of  famous  names  there 
assembled  is  a  long  one,  and  most  of  the  leading 
schools  of  Italy  had  contributed  their  quota  of 
great  masters.  From  Milan  there  came  Caporali, 
Bramantino,  and  Cesariano;  from  Venice,  Lorenzo 
Lotto ;  from  Umbria,  Perugino,  Pinturicchio,  and 
Signorelli ;  whilst  a  host  of  Florentines, — among 
whom  Granacci,  Bugiardini,  LTndaco,  Agnolo  di 
Donnino  and  Aristotile  di  San  Gallo  were  not  the 
least  distinguished, — had  trooped  thither  in  the 
train  of  Michelangelo. 

These  artists  dwelt  for  the  most  part  in  the  Borgo 
Vecchio,  meeting  in  all  probability  almost  daily,  in 
the  Vatican  Belvedere :  in  the  quarters  allotted  to 
Bramante,  to  whose  recommendation  many  of  them 
had  owed  the  distinction  of  a  command  to  serve 
His  Holiness. 

At  some  date,  then,  about  the  middle  of  October 
1508,  Bazzi  entered  upon  his  task  in  the  Camera 
della  Segnatura.  He  divided  his  composition 
into  a  number  of  sections,  separated  by  borders  of 
his  favourite  arabeschi.  Eight  small  compartments 
were  filled  with  delicate  illustrations  taken  from 
Anacreon's    poems    and    the   legends   of  Greece 


Photo:  Alinari. 


CEILING   OF   THE    "CAMERA   DELLA    SEGNATURA." 


VATICAN,    ROME. 


To  face  p.  no. 


CAMERA    DELLA   SEGNATURA      iii 

and  Rome/  while  an  octagon  space  in  the  centre 
displayed  a  number  oi putti,  floating  amid  the  blue 
vault  of  heaven  and  bearing  aloft  the  Delia  Rovere 
shield.^  Whether  Bazzi  had  completed  any  further 
portions  of  the  work  in  the  larger  divisions,  or  had 
merely  planned  or  sketched  in  his  subjects,  when 
the  ruthless  fiat  came  to  destroy  '*  everything,"  we 
shall  now  never  know.  In  view  most  likely  of  the 
short  time  at  his  disposal,  and  his  natural  tendency 
to  take  things  easily, — yielding  to  the  call  and 

^  The  Scenes  are  as  follows  : — 

A  commander  haranguing  his  troops. 

A  cavalry  charge. 

Victory  crowning  a  General. 

Priests  offering  sacrifice. 
These  are  painted  in  monochrome. 
The  following  are  painted  in  colours  on  a  gold  ground : — 

Cupid  requites  hospitality  by  wounding  his  host. 

Venus  standing  in  her  shell  spreads  her  veil  to  the  rising  breeze. 

Vulcan  forges  the  shield  of  Mars. 

Satyrs  disturb  the  slumbers  of  Antiope. 
It  is  perhaps  worth  observing  that  the  backgrounds  of  these  four  last 
designs  are  painted  to  represent  mosaic,  in  the  same  manner  subsequently 
employed  by  Raphael  himself  in  the  larger  sections. 

2  It  is  but  just  to  remark  that  the  question  whether  this  octagon  section 
is  the  work  of  Bazzi  or  not,  affords  scope  for  extensive  controversy.  Many 
authoritative  critics  maintain,  with  a  certain  show  of  reason,  from  the 
very  Mantegnesque  appearance  of  these  Futti,  that  they  are  the  work  of 
Melozzo  da  Forli.  (Cf.  Schmarzow,  Der  Freskenschmuck  einer  Madotinen 
Kapelle  in  Subiaco.  Berichte  iiber  die  Verhandlung  der  Koniglich 
Sdchsischen  Gesellschaft  der  Wissenschaften  zu  Leipzig.  Leipzig : 
B.  G.  Teubner,  1901.)  This  writer  would  also  attribute  the  charming 
Charitas'xn  the  Villa  Malta  (Bobrinsky)in  Rome,  to  which,  we  have  alluded 
in  the  last  chapter,  to  this  period  of  our  artist's  life.  Moreover,  he  also 
sees  Bazzi's  hand  in  some  of  the  figures  on  the  ceiling  lunettes  in  the 
Appartamento  Borgia  of  the  Vatican.  This  theory  again  seems  to  us 
somewhat  far-fetched,  although  another  distinguished  critic  (Dr.  Ernst 
Steinmann,  Rom  in  der  Renaissance  von  Nicolaus  V.  bis  auf  Leo  X. 
Leipzig:  Seemann,  1902,  p.  114)  says:  "Sodoma's  feeling,  Signorelli's 
character  allied  with  Umbrian  grace,  are  to  be  found  in  Pinturicchio's 
S.  Sebastian  in  these  rooms." 


112  FIRST   VISIT    TO    ROME 

bidding  of  the  merry  company  he  consorted  with, — 
it  is  improbable  that  the  Pontiff's  order  involved  the 
destruction  of  much  actually  finished  work  ;  indeed, 
therefore,  Vasari's  statement  that  the  rest  was  ''de- 
stroyed'' should  not  be  construed  too  literally.  Nor 
is  it  necessary  either  to  suppose  that  it  was  the  work 
itself,  ratherthan  tardy  methods,  which  so  displeased 
His  Holiness  as  to  bring  about  the  artist's  sudden 
dismissal.  No  doubt  the  imperious  PontifT,  having 
pressed  into  his  service  all  the  most  skilled  artificers 
from  the  four  quarters  of  Italy  to  adorn  his  palace, 
was  in  haste  to  see  some  of  his  vast  designs  com- 
pleted before  Death  should  hurry  him  away;  and 
the  laboured  efforts  of  the  aged  Perugino  and  the 
easy-going  ways  of  the  jovial  Bazzi  incensed  him 
in  equal  measure. 

Although  associated  later,  and  working  side  by 
side  at  the  Farnesina,  Bazzi  and  Raphael  were 
neither  of  them  by  that  time  so  impressionable, 
nor  were  they  thrown  together  in  such  terms  of 
intimacy  as,  we  may  reasonably  conclude,  existed 
between  them  at  this  early  period  of  their  lives. 
Raphael  must  have  held  Bazzi's  genius  in  un- 
doubted reverence,  or  he  would  scarcely  have  risked 
the  loss  of  the  irascible  Pope's  favour  by  saving 
from  destruction  any  portion  whatever  of  the  ceiling. 
Nevertheless,  the  fact  stands  forth  that  the  regard 
experienced  towards  Bazzi  by  Raphael,  his  young 
rival  and  comrade,  is  marked  by  evident  and  genuine 
feeling  ;  ripening  into  that  friendship,  which,  with 
corresponding  artistic  fruit,  would  seem  to  have 
sprung  into  life  between  them.  The  marked  re- 
semblance in  their  work,  in  a  subject  such  as  the 


^9^      OF  TH 

H    UNIVERSITY 


HEAD   OF   A   YOUTH. 
PENCIL   SKETCH. 

MALCOLM    COLLECTION,    BRITISH   MUSEUM,    LONDON. 


To  face  p.  IT  3. 


YOUTHFUL    PORTRAITURE  113 

portrayal  of  children, — be  they  c\2iss\c  put ti,  Holy 
Infants,  boy  angels,^  or  merely  youthful  portraiture, 
— cannot  fail  to  impress  the  observer  strongly,  if  not 
actually  to  carry  conviction  to  his  mind.  Bazzi  athis 
best  could  certainly  herein  rival — if  not  surpass — 
the  Prince  of  Painters  ;  but  alas  !  how  seldom  was 
he  at  his  best\  If  we  compare  his  cherubs  in 
the  Farnesina,  in  the  Chapel  of  S.  Catherine  at 
S.  Domenico  in  Siena,  and  the  half-obliterated 
but  extremely  beautiful  putto  in  the  arch  over  the 
Porta  Pispini  of  that  city,  with  any  of  Raphael's 
work  of  the  same  description, — viz.  the  seated  boy 
with  finger  pointing  upwards  in  the  lunette  repre- 
senting Jfirispriidence  (Camera  della  Segnatura), 
or  the  celebrated  children  beneath  the  Madonna  di 
S.  Sisto, — it  is  hard  indeed  to  say  which  artist  can 
claim  the  palm.  The  allotment  of  existing  drawings 
in  the  great  collections  of  the  world  alternately  to 
Raphael  or  Bazzi,  is  an  unfailing  source  of  conten- 
tion for  distinguished  art-critics ;  to  be  reopened 
anew  at  every  opportunity.  In  the  beautiful 
chalk  sketch  of  a  head,  so  long  attributed  to 
Raphael,  in  the  Malcolm  Collection  (British 
Museum),  and  others  of  a  similar  character  else- 
where, modern  criticism  now  recognises  the  work 
of  the  less  famous  painter.  A  recent  discovery, 
(pointed  out  by  Frizzoni  to  Sidney  Colvin,^)  of  a 

^  Miintz  {Histoire  de  VAri  cit.,  vol.  iii.  p.  530)  states  that  Bazzi's 
futti  were  influenced  by  Raphael's ;  but  it  may  be  quite  as  likely  that  the 
influence  was  reciprocal.  The  question  of  the  authenticity  of  Bazzi's 
drawings  is  a  thorny  one,  involving  a  vast  number  of  hotly  debated 
questions,  and  would  naturally  not  find  a  place  in  an  historical  record 
of  this  kind. 

*  Sidney  Colvin,  M.A.,  Selected  Drawings  by  Old  Masters  in  the 
University    Galleries,    and  in   the  Library  at  Christ  Church,    Oxford^ 

8 


114  FIRST   VISIT   TO    ROME 

clever,  but  not  altogether  pleasing,  portrait  of 
a  youth  with  black  cap  and  flowing  hair,  in  the 
collection  at  Christ  Church,  Oxford,  suggests  that 
Raphael,  when  preparing  to  introduce  his  own 
likeness  into  the  School  of  Athens,  sat  to  his  friend 
for  this  powerful  sketch  ;  which,  in  spite  of  the 
absence  of  personal  beauty,  conveys  to  us  the  im- 
pression of  a  speaking  resemblance.  The  question 
concerning  the  discovery  of  Bazzi's  own  portrait 
in  the  School  of  Athens,  traced  in  the  figure  so 
long  supposed  to  be  Perugino,^  involves  too 
lengthy  an  argument  at  this  stage,  and  will  be 
dealt  with  when  we  come  to  enumerate  the  still 
existing  representations  of  our  hero.^  Assuming, 
however,  for  the  moment,  its  authenticity,  it  only 
adds  further  weight  to  the  suggestion  that  a 
warm  and  mutually  appreciative  friendship  existed 
between  the  two  painters. 

In  thespringof  1509,  therefore,  work  was  abruptly 
stopped.  But  that  our  artist  left  Rome  immediately 
in  consequence,  is  by  no  means  either  a  necessary 
or  a  foregone  conclusion  ;  indeed,  a  number  of 
circumstances  would  seem  to  suggest  the  reverse. 
The  theory  generally  adopted  by  writers  who 
follow  with  literal  fidelity  Vasari's  somewhat  un- 
certain chronology  is,  that  Agostino  Chigi,  deter- 
mined to  console  \{\s  protdgd  iox  \h^  slight  thus 
inflicted,  at  once  set  him  to  work  upon  the  famous 
Farnesina  frescoes.    This  view  is  upheld  with  great 

Part  I.  Oxford  :  Clarendon  Press,  Henry  Frowde,  1903.  Cf.  Frizzoni, 
Disegni  di  Antichi  Maestri  (L'Arte.  Anno  VIL,  fasc.  iii.,  iv. ;  Roma, 
1904. 

^  Morelli,  German  Galleries  cit.,  p.  430,  note  2. 

*  See  Appendix. 


HEAD   OF   A   YOUTH   WITH    LONG   HAHl. 

(PORTRAIT  OF  RAPHAEL?). 

PENCIL  SKETCH. 

CHRISTCHURCH,    OXFORD. 


To  face  p.  114. 


BAZZrS   MARRIAGE  115 

force  of  argument  by  Dr.  Richard  Foerster,  in  spite 
of  the  consensus  of  opinion  favouring  a  second 
visit  to  Rome  in  15 14. 

Dr.  Meyer^  would  place  two  pictures  only  within 
this  period  of  the  artist's  life.  But  in  this  connection 
it  should  be  pointed  out  that  since  easel-pictures, 
— especially  those  of  a  moderate  size, — may  be 
easily  moved  from  place  to  place,  the  mere  fact  of 
their  being  found  now  in  a  particular  city  is  no 
proof  that  they  were  painted  there,  or  that  others 
since  removed  may  not  also  have  been  there  at  one 
moment  of  their  existence.  The  two  pictures  in 
question  are  a  Pieta  and  a  Leda.  The  former  a  dark 
unlovely  painting, and  \)s\^Lecla{2i  copy?^)  are  now  in 
the  Casino  Borghese  in  Rome  (Nos.  462  and  434)/'* 

Resuming  our  chronological  sequence,  we  find 
that  our  painter  had  unquestionably  returned  to 
Siena  by  the  end  of  1510 ;  since  in  the  autumn  of 
that  year  he  married  Beatrice,  the  daughter  of 
Luca  de'  Galli,/'  landlord  of  the  Goose  and  Crown 

^  Meyer,  Op.  cit. 

^  Morelli,  Delia  Pittura  Italiana  cit.,  pp.  151-59.  Berenson 
(^Drawings  of  the  Florentine  Painters  cit.,  p.  162)  states  that  the  Bor- 
ghese Leda,  being  but  a  copy  of  a  Bazzi  version,  is  so  much  the  farther 
removed  from  a  Leonardo  original. 

^  Schmarzow  (6>/.  cit^  would  place  at  this  period  of  our  hero's  career, 
certain  frescoes  in  the  Lady  Chapel  of  the  Church  of  S.  Francesco  at 
Subiaco.  They  represent  Scenes  from  the  Life  of  the  Virgin,  and  the 
learned  Professor  displays  considerable  ingenuity  in  support  of  his  con- 
tention. We  have  not  been  able  to  examine  the  original  work,  but  the 
photos  published  by  the  Kunsthistorische  Gesellschaft  fUr  Photographische 
Publicationen  are  not  convincing. 

*  William  Heywood,  A  Pictorial  Chronicle  of  Siena.  Siena  :  Torrini, 
1902,  p.  97.  That  this  citizen  was  one  of  the  leading  innkeepers  in  the 
Siena  of  that  day  is  evident  from  the  fact  that,  in  May  1498,  the  orator 
of  Charles  VIII.  of  France  was  lodged  in  the  Crown  Inn  at  the  city's 
expense. 


ii6  FIRST   VISIT   TO   ROME 

Inns,  by  his  wife  Caterina  de'  Peri.  This  lady 
brought  with  her  a  dowry  of  450  florins  of  4  lire 
each/  and  subsequently  inherited  under  her 
mother's  Will  ^  two  houses  in  the  Via  Vallerozzi 
in  Siena.  The  issue  of  the  marriage  were  two 
children:  Apelles,  born  in  August  151 1,  and 
Faustina  in  1512.^  Among  the  godparents  of 
the  first  child — who  died  an  infant — we  find  the 
artist  Girolamo  Genga,  whose  eclectic  and  im- 
personal style  at  that  time  so  far  echoed  Bazzi's, 
that  the  painting  of  a  curtain  to  adorn  the 
organ  of  the  Cathedral  of  Siena,  representing  the 
Transfiguration  (now  in  the  Museum  of  the  Opera 
del  Duomo),  was  long  attributed  to  the  more  cele- 
brated master.^  On  June  7th,  151 1,  as  we  have 
already  had  occasion  to  note,  Bazzi  sued  his  whilom 
pupil,  Vincenzo  di   Bernardo  Chelis   (Tamagni), 

^  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Alessandro  di  Niccolh 
delta  Grammatica;  Atti  Anteriori  al  1585,  Filza  dal  1507-15,  No.  61. 
Reparto  A,  Busta  193.     15 10,  28  Ottobre. 

^  Archivio  detto.  Hogiti  di  Ser  Ventura  di  Ciofine  Ciogni  da  Lucig- 
nano  Vat  di  Chiana;  Filza  del  1523-27,  No.  48;  Rep.  A,  Busta  604. 
1524,  19  Maggio. 

^  Archivio  di  Stato  di  Siena,  Libro  de^  Battezzati,  151 1  :  ^'  Apetle  f. 
di  Barzi  (sic)  da  Verge  tie  dipentore  si  baptezo  addl  xxviiii.  d^  Agosto. 
Compare  M.  Gismondo  Acharigi,  e  M°-  Giovan-Baptista  Nini,  e  Gentile 
da  Caparbio,  e  Girolamo  da  Urbino  (il  Genga)  e  Sinolfo  Saracini.^' 

Archivio  detto,  Libro  detto,  1512  ;  ^^ Faustina,  figlia  di  M"-  Giovananf 
dipentore  si  baptizo  addi  xvj  d'  Agosto.     Compare  elchiga  (Chigi)." 

Vasari  I^Op.  cit,  p.  398)  makes  another  slip  here.  He  states  that 
Giovanni  Antonio  and  Beatrice  Bazzi  had  a  daughter  during  their  first 
year  of  wedlock,  and  separated  immediately  afterwards. 

*  Painted  in  15 10,  Genga  received  for  it  100  scudi.  Cf.  Vasari,  Op. 
cit.,  vol.  vi.  p.  316,  note  i.  There  is  also  a  drawing  of  Diafta  and  her 
Nymphs,  Fol.  109,  No.  2514,  in  the  old  Pinacotek  at  Munich,  attributed 
by  Morelli  to  our  artist,  which  seems  much  more  like  the  work  of  Genga. 
To  this  painter  Schuchhardt  {Op.  cit.)  seems  inclined  to  attribute  the  fine 
Charitas  at  Berlin  already  alluded  to. 


SIENESE    "  PALU"  117 

then  lying  in  prison  at  Montalcino,  to  recover 
from  him  a  sum  of  25  ducats.^  No  records  exist 
concerning  the  circumstances  of  this  debt,  or  the 
reason  for  Tamagni's  imprisonment ;  but  since  we 
have  already  submitted  the  theory  that  the  master 
received  his  first  commission  at  S.  Gimignano 
directly  or  indirectly  through  the  Tamagni  family, 
the  relations  between  them  may  have  been  those 
of  reciprocal  obligation  ;  hence  the  debt. 

The  reader  should  take  special  note  that  it  is 
precisely  during  these  years,  marked  as  they  were 
by  intimate  domestic  events,  and  spent  amid  his 
family  and  personal  friends,  that  the  nickname  of 
Sodoma  first  appears. 

On  March  loth,  151 2,^  we  find  Bazzi  running  two 
horses  in  the  Palio  held  in  honour  of  the  Blessed 
Ambrogio  Sansedoni;^  and  his  name  occurs  again 
in  the  same  lists — probably  for  the  identical /^^j/^ — 
two  years  later  (1514).'^  One  of  his  horses  would 
appear  to  have  been  entered  for  the  Palio  of  "Our 
Lady  of  August"  in  1513;^  but  some  offence  seems 

^  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Niccotb  di  Poso  di 
Giovanni  Posi  da  Montalcino  dal  1505  al  1512  ;  Rep.  A  {Atti  Notarili), 
Busta  No.  358. 

2  Archivio  detto  {Atti  di  Ordinamento  Civile  e  Politico),  Bastardello 
dei  Quattro  Provveditori  di  Biccherna.  Nelle  Carte  di  Ser  Alessandro  della 
Grammatica\  p.  28'-  Rep.  E,  Busta  21. 

^  For  an  elaborate  account  of  this  Saint  and  the  races  run  in  his 
honour,  cf.  William  Heywood,  Palio  and  Ponte  (London  :  Methuen  & 
Co.,  1904),  pp.  68-81.  As  to  the  place  and  management  of  the  Sienese 
Palii  of  those  days,  cf.  also  p.  212.  They  were  not  promoted  by  the 
Contrade,  as  at  present,  but  under  the  exclusive  control  of  the  Commune, 
and  entries  for  the  various  events  were  open  to  owners  and  riders  from 
all  parts  of  Italy. 

*  Arch,  di  Stato  di  Siena,  Biccherna  883.  Dal  i  Luglio  15 13  al 
30  Giugno  15 14. 

*  Archivio  detto,  Biccherna  detto. 


ii8  FIRST  VISIT   TO    ROME 

to  have  been  committed  on  the  recurrence  of  this 
festival  in  the  following  year,^  since  three  entries 
in  the  books  of  the  Biccherna,  dated  respectively 
August  19th  and  23rd,  and  October  6th,  15 14, 
record  the  levying  of  a  fine  of  "  25  denari','  besides 
the  menace  of  arrest.  This  may  account  for  his 
absence  from  the  list  of  competitors  in  that  race. 
It  is  upon  these  occasions  that  Bazzi  may  be  said 
to  have  first  become  officially  known  as  ''Sodoma  " ; 
and  it  may  thence  reasonably  be  presumed  that 
the  officials  of  the  Biccherna  recognized  the  name 
as  a  racing  sobriquet,  and  no  more.  In  the  text 
of  one  of  the  last-named  entries  the  culprit  is 
designated  as  lo  Batista,^  while  the  nickname  is 
appended  on  the  margin. 

These  racing  records,  of  which  copious  extracts 
will  be  found  in  the  Appendix,  are  somewhat 
intricate,  and  have  been  made  none  the  more  intel- 
ligible by  incomplete  and  incorrect  copying  ;  ^  while 
the  difficulties  of  reference  are  increased  by  their 
separation,  for  no  apparent  reason,  in  two  different 
Record  Offices.  Their  interest  is  considerable.  Let 
us  therefore  pause  awhile,  and  consider  the  light 
they  may  throw  on  certain  obscure  points.  The 
races  recorded  (five  in  all),  together  with  the 
competitors,  are  as  follows : — 

March  loth,  1512       .     Feast  of  B.  Ambrogio 

Sansedoni. 

^  Archivio  detto,  Biccherna  884.     Dal  4  Luglio  15 14  al  Xmbre  22, 

1514- 

2  It  is  even  possible,  since  we  find  that  Batista  was  the  name  of 
one  of  his  jockeys  in  the  earher  Palio  of  the  same  year,  that  the  servant 
was  the  culprit,  though  the  owner  bore  the  brunt  of  the  offence. 

^  Nuovi  Documenti,  etc.,  p.  408,  No.  207.    See  Appendix  No.  13. 


SIENESE    "PALU"  119 

March  30th,  15 13  (?).     Feast  of  B.  Ambrogio 

Sansedoni. 
,,         ,,         ,,  .     Feast      of     S.     Mary 

Magdalen. 
August  1 6th,  1 5 13      .     Feast   of  S.    Mary   of 

August  (The  Assumption). 
March  30th,  1514       .     Feast  of  B.  Ambrogio 

Sansedoni. 

We  would  first  beg  our  readers  to  observe  that 
the  earliest  entry  is  taken  from  a  volume  preserved 
in  the  Archivio  Notarile  ;  while  the  remainder  are 
to  be  found  in  the  Archivio  diStato,  although  both 
profess  to  form  part  of  the  same  set  of  records  : 
namely,  those  of  the  Quattro  Provedditori  di 
Biccherna.  We  may  note  next,  that  the  second 
of  these  lists  is  written  on  a  loose  sheet  of 
paper  (a  leaf  from  a  book  of  accounts)  pasted 
into  the  volume  of  records.  It  bears  no  authori- 
tative date,  but  some  latter-day  archivist  has 
written  /5/J  Marzo  in  blue  pencil  underneath. 
This  date  therefore  is  only  conjectural.  From  the 
names  of  the  persons  and  the  details  concerning 
the  horses  mentioned,  we  are  inclined  to  hold  this 
list  merely  as  an  incomplete  repetition  or  a  mis- 
dated copy  of  the  record  for  the  August  Palio  of 
the  following  year  (perhaps  even  a  preliminary 
schedule  for  that  race).^  Since  the  name  of  our 
artist  is  not  mentioned  on  either  of  these  two 
occasions,    the   matter    is    so    far  one   of   minor 

^  It  may  be  remarked  that  none  of  these  records  bear  the  stamp  of 
finaHty,  for  erasures  and  alterations  occur  more  than  once  in  all  of  them. 
For  example,  for  the  S.  Mary  Magdalen  Palio  in  15 13  the  first  entry  of 
the  name  of  the  Duke  of  Urbino  is  struck  out ;  as  if  there  had  been 
some  mistake  in  the  ownership  of  the  horse  mejitioned, 


I20  FIRST    VISIT   TO    ROME 

importance.  Neither  does  his  name  occur  in  the 
next  list.  Our  interest,  therefore,  in  these  two 
races  centres  rather  in  those  of  the  other  individuals 
mentioned,  the  names  of  whose  horses  and  jockeys 
seem  to  recur  again  and  again  at  all  the  race- 
meetings.  Some  of  these  personages  are  men 
of  the  highest  rank  and  commanding  influence. 
Among  them  stands  foremost  the  Marquis  of 
Mantua, — whose  acquaintance  the  artist  perhaps 
made  on  some  one  of  these  occasions, — the  Duke 
of  Urbino,  the  Cardinal  Alfonso  Petrucci,^  the 
Marchese  della  Sassetta,  and  last,  but  not  least, 
Messer  Agostino  Bardi,  in  rivalry  with  whom  we 
notice  the  painter  enters  two  horses  for  the  first 
Palio  in  which  his  own  name  occurs  {March  loth, 
757^).  A  single  horse,  the  ''Equus  leardus','  seems 
to  have  run  for  him  on  all  occasions,  including 
the  August  Palio  of  15 13;  whilst  two  appear  in 
March  15 14,  one  of  which  animals  is  described  as 
"  Equus  morellusy  ^  This  steed  was  perhaps  that 
purchased  from  Agostino  Bardi.  Of  his  jockeys, 
one,  Betto  of  Viterbo,  seems  to  have  ridden  several 
times  for  him ;  but  the  queer  nicknames  of  these 
gentry  do  not  assist  us  much  towards  their  iden- 
tification in  connexion  with  their  masters.     From 

^  Who,  as  we  know,  owed  his  scarlet  hat  to  the  good  ofifices  of  Agostino 
Chigi  in  1511. 

2  Morellus  =  black ;  Ital.  Morello.    G.  L.  Pulci,  Morgante  Maggiore, 
xii.  42 : 

"Cavalcava  un'  alfana  smisurata, 
Di  pel  morello  e  Stella  aveva  in  fronte," 
Leardus  =  white ;  Ital.  Lear  do,  a  word  especially  used  for  the  hide 
of  a  horse.     G.  F.  Berni,  Orlando  Innamorato,  ii.  23,  48  : 
"  Larbin  di  Portogallo,  ancor  garzone, 
^avalca  seco  un  gran  destrier  leardo." 


FRANCESCO  GONZAGA  121 

the  shifting  of  the  names  in  the  lists,  it  would  seem 
that  these  lads  were  not  always  employed  by  the 
same  owner.  They  probably  belonged  to  a  sort  of 
guild  or  corporation,  not  confined  to  anyparticular 
locality,  and  rode  for  the  highest  bidder  or  first 
comer,  as  chance  led  them.^ 

Francesco  Gonzaga,  Marquis  of  Mantua,  was 
notoriously  an  enthusiastic  patron  of  racing.  His 
animals  were  famous  throughout  Europe  ;  several 
even  finding  their  way  to  England  in  the  form 
of  presents  to  Henry  VI H.^  His  term  of  imprison- 
ment in  Rome  in  1510"^  does  not  seem  to  have 
precluded  his  name  from  appearing  in  the  lists  of 
owners  at  race-meetings  all  over  Italy  ;  and  the 
circumstance  of  Bazzi's  acquaintance  with  this 
Prince  resulted  some  years  afterwards  in  the  offer 
of  a   specimen   of  his   artistic    handiwork. 

We  have  already  referred  incidentally  to  our 
artist's  purchase  of  a  horse,  with  furniture  complete, 
for  the  sum  of  30  diicati  larghi,  from  Agostino 
Bardi.  The  document  recording  this  transaction  is 
dated  November  9th,  1513.^  The  painter  is  there 
described  2iS  Johannes  Antonius  J acobi  de  Verzbde 
Savoia^  which  crushes  once  and  for  all  the  Vergelle 
myth.      Bazzi  was  to  be  permitted  to  extinguish 

^  The  student  may  read  these  details  with  some  interest  in  the  copies 
of  the  entries  above  referred  to, 

^  Julia  Cartwright,  Isabella  d^  Este,  Marchioness  of  Mantua^  ^474 — 
1539-  ^  Study  of  the  Renaissance.  London  :  John  Murray.  1903, 
vol.  ii.  pp.  173-4. 

^  Idem,  vol.  ii.  pp.  43-4. 

*  Arch.  Not.  Prov.  Siena.  Ro^iti  di  Ser  Mariano  d'  Antonio 
Benucci,  Filza  7a,  No.  62  ;  Rep.  A  {Gestioni  Notarili),  Busta  534. 

^  A  point  worthy  of  note,  since  it  records  the  fact  that  Vercelli  at  thi^ 
date  belonged  to  the  Principality  of  Savoy. 


122  FIRST   VISIT   TO    ROME 

the  debt  either  by  painting,  within  eight  months, 
the  facade  of  Bardi's  house  in  the  Piazza  Postierla, 
or  by  completing  an  altar  panel  instead.  We  learn 
from  Vasari  that  he  actually  executed  the  fresco  in 
competition  with  Beccafumi,  who  was  then  first 
coming  to  the  fore  as  an  artist,  and  was  engaged 
in  decorating  the  neighbouring  Palazzo  Borghese. 
All  trace  of  both  paintings  has  long  since  vanished. 
The  year  15 13  is  the  date  that  Meyer ^  would 
fix  for  the  notorious  Florentine  Palio,  an  account 
of  which  is  given  in  the  first  chapter.  Several 
strong  arguments,  however,  militate  against  this 
suggestion.  In  the  first  place  no  member  of  the 
Brandolini  family  was  Prior  of  the  Convent  in  that 
year.^  Francesco  Brandolini,  who  presumably  is 
the  personage  alluded  to  by  Vasari,  held  office  from 
May  1504  to  May  1506,  May  1509  to  May  15 10, 
May  1515  to  May  1517,  May  1520  to  May  1522, 
and  May  1535  to  May  1540.  If,  therefore,  the 
biographer's  statement  is  correct :  that  our  artist's 
visit  was  induced  by  a  commission  to  paint 
frescoes  for  this  ecclesiastic,  we  must  endeavour 
to  place  these  two  incidents  within  one  or  other 
of  these  periods.  The  first  two  terms  are  clearly 
out  of  the  question :  wherefore  most  critics, 
following  Milanesi,^  fix  upon  15 15  as  the  correct 
date ;  which  is  supported  by  a  letter  (already 
referred    to),    written    by   Jacopo   V.    d'Appiano, 

*  Meyer,  Op.  cit.  This  author  skilfully  gathers  up  the  threads  of  his 
predecessor's  arguments,  but  falls  into  a  trap  himself  when  speaking 
of  the  race  as  having  taken  place  on  the  occasion  of  the  Feast  of 
S.  Amdrogio,  which  was  quite  another  occasion  and  in  another  city. 

^  Cf.  Familiarum  tabulce  Conventi  Montis  Olivetarum. 

'^  Vasari,  Op.  cit.,  p.  407.    Prospetto  Cronologico.    d.  post,  p.  i§8  eseg. 


THE  FLORENTINE  "PALIO"         123 

Prince  of  Piombino,  the  artist's  staunch  friend  and 
patron,  commending  both  him  and  his  horses  to 
the  notice  and  protection  of  the  ruler  of  Florence, 
Lorenzo  de'  Medici  the  Younger. 

It  is  important  to  bear  in  mind  that  when 
Milanesi  published  his  valuable  work,  the  paint- 
ings at  this  convent  were  supposed  to  have  been 
entirely  destroyed.  Not  until  theearlynineties^ — 
and  then  only  by  a  mere  accident — did  any  portion 
come  to  light  once  more.  This  fragment  comprises 
a  portion  of  a  Cenacolo^  the  style  of  which  is 
singularly  mature ;  and  with  no  other  corroborative 
data,  it  is  somewhat  hard  to  believe  that  these 
frescoes  were  executed  at  such  an  early  period 
of  the  artist's  career.  This  view  would  assist  a 
proposition,  which  we  put  forward  with  some 
diffidence,  though  it  seems  to  us  with  a  strong 
show  of  reason:  viz.,  that  the  Aretine  biographer 
has  once  more  confused  his  facts  and  dates. 
It  is  more  than  probable — nay,  most  likely — 
that  Bazzi  and  his  horses  competed  in  Florentine 
races  on  a  number  of  occasions  ;  one  of  which  no 
doubt  occurred  in  15 15. 

It  is  scarcely  conceivable  that  a  well-known 
character,  in  the  heyday  of  his  popularity  as  man 
and  artist,  and  enjoying  the  powerful  protection 
of  nobles  and  princes, — especially  of  the  ruler  of 

^  Diego  di  S.  Ambrogio,  VAffresco  del  Sodoina  a  Montoliveto  fuori 
Porta  San  Frediano.  {Arte  e  Storia.  25  Gennaio,  1895,  Anno  XIV., 
No.  2.) 

2  They  consist  of  figures  of  the  seated  Saviour  with  hand  raised  in 
blessing,  S.  John,  S.  Peter  and  Judas,  grouped  in  the  usual  somewhat 
stereotyped  order  common  to  representations  of  this  scene.  The  heads 
of  the  last  two  are  unusually  strikingly  characterise^.     Ci.  post^  p.  186, 


124  FIRST   VISIT   TO    ROME 

Florence  himself, — could  have  been  either  unknown 
to  the  people  by  his  regular  racing  appellation,  or 
have  been  subject  to  the  violence  of  the  mob  on  that 
account.  Far  more  probable,  indeed,  that  later  in 
life,  recklessly  trading  on  past  successes,  he  should 
have  essayed  as  an  older  man,  and  in  a  changed 
Florence,  to  try  his  luck  once  more,  and  have  met 
then  with  some  sort  of  misadventure  such  as  Vasari 
describes. 

The  actual  date  of  this  Palio  is  still  further 
thrown  into  uncertainty  by  the  circumstance  that, 
whereas  Vasari  states  that  the  race  was  run  on  the 
occasion  of  the  Feast  of  S.  Barnabas,^  which  falls 
on  June  nth,  the  letter  of  introduction  is  dated 
June  1 8th.  It  was  probably  in  consequence  of 
this  letter  that  Milanesi  fixed  upon  S.  John  the 
Baptist's  day  (June  24th)  for  the  race;  but  even  then 
the  time  would  have  been  too  short  to  admit  of  the 
entry  of  Bazzi's  horses  to  run  on  that  day.  More- 
over, we  find  in  the  books  of  the  Opera  del  Duomo 
of  Siena  records  of  commissions  to  be  carried 
out  by  the  artist,  such  as  would  scarcely  have  been 
given  him  in  his  absence.  The  fact  that  the  work 
ordered  on  this  occasion  no  longer  exists  has  no 
bearing  upon  our  argument ;  for  the  salient  point 
of  interest  to  us  rests  upon  the  evidence  that  his 
nickname  was  already  officially  recognised  as  such ; 
thus  effectually  removing  the  sting  from  Vasari's 
story. 

While  we  may  agree,  therefore,  that  in  1515  Bazzi 

^  This  Palio  was  run  to  commemorate  the  Battle  of  Campaldino, 
fought  on  June  nth,  1289.  Cf.  William  Heywood  {Palio  and  Ponte 
cit,  p.  g),  as  regards  certain  buffooneries  indulged  in  by  the  Florentine 
rabble  in  connection  with  this  race.     Cf.  also  p.  10  of  the  same  work. 


STATUE    OF   AN    APOSTLE  125 

came  to  Florence  under  distinguished  patronage, 
and  entered  horses  for  a  Palio,  the  theory  that 
this  was  the  occasion  whereon  he  acquired  his 
surname  may  with  justice  be  finally  abandoned. 

We  are  aware  that  on  June  22nd  he  received 
from  the  Siena  Duomo  authorities  a  commission 
to  fashion  a  bronze  statue  of  an  Apostle  ^  for  the 
decoration  of  that  noble  church ;  and  to  under- 
take besides,  the  artistic  tuition  of  four  of  the 
apprentices  employed  in  the  bottega  of  the  Opera. 
What  has  become  of  this  Apostle?  Did  he  ever  take 
tangible  shape?  We  cannot  tell,  since  no  trace  of 
the  image  now  remains  ;  but  a  later  notice,^  dated 
October  i  ith  of  the  same  year,  informs  us  that  the 

^  Arch,  dell'  Opera  del  Duomo,  Libro  di  Memorie,  segnato  E  9. 
a  c.  28*.  1515,  22  di  Giugno.  ^^  Deliberaverunt  locare — Magistro 
Johanni  Antonio  alias  Sodoma  pictori,  ad  faciendum  unain  figuram 
unius  apostoli  briinzii  in  Ecclesia  cathedrali  cum  illis  conditionibus  prout 
fuit  locata  Jacopo  Cozzarelli.  Item  modis  et  pactis  et  locaverunt  etiam 
aliam  figuram,  et  hoc  ad  beneplacitum  operariorum,  si  ipsis  videbitur. 
Et  quod  ipse  Johannes  Antonius  teneatur  docere  quatuor  pueros  dicti 
Operis  gratis,  et  sine  ullo  premio  ad pingendujn." 

We  learn  (Vasari,  Op.  cit.,  p.  405,  Mil.  Doc.  vol.  ii.  pp.  463-6 ; 
vol.  iii.  pp.  29  &  305),  that  these  figures  had  been  first  allotted  to 
Francesco  di  Giorgio  and  then  to  Giacomo  Cozzarelli.  We  also  learn 
from  the  same  sources  that  contracts  for  training  their  young  material 
had  been  entered  into  at  different  times  by  the  Rectors  of  the  Duomo, 
with  Antonio  Federighi  (the  sculptor),  Ventura  di  Ser  Giuliano,  Turi 
de'  Pilli  (the  carver  and  architect),  and  Giacomo  Cozzarelli  above- 
mentioned. 

In  reference  to  these  bronze  figures,  the  student  may  be  interested 
to  note  the  accounts  of  the  sums  of  money  paid  by  the  Opera  del 
Duomo  to  Francesco  di  Giorgio  for  the  two  bronze  angels  also  made 
for  the  choir.  Archivio  di  Stato,  di  Siena.  Scritture  Consistoriali, 
Filza  No.  24.     1497.     Cf.  Mil.  Doc,  vol.  iii.  p.  305. 

^  Arch,  dell'  Opera  del  Duomo.  Libro  verde  di  due  Angeli, 
Carte  287.  15 15.  11  d'  Ottobre.  Giovantonio  ^^//<?  el  Sodoma,  d?//<?«- 
tore,  die  dare  per  fino  a  di  XI  d'  Otobre  per  lib.  :  trentaquatro  di  cera 
intormentinatta :  ebe  per  noi  da  Girolamo  fatore,  di  quale  si  ebe  dal 
Chozarello.      Se  li  di  per  fare  li  modelli  del  San  Pietro. 


126  FIRST   VISIT   TO   ROME 

figure  was  intended  to  represent  S.  Peter,  and 
records  the  supply  to  the  artist  of  34  lbs.  of  wax 
for  the  model.  This  notice  affords  us  cogent 
evidence  that  Bazzi  did  actually  wield  the  chisel 
as  well  as  the  brush.  Though,  so  far  as  we  know, 
no  examples  of  his  achievements  in  that  direction 
are  in  existence,  his  earlier  studies  betoken  his 
taste  for  sculpture.^  It  has  even  been  hinted 
that  the  beautiful  figure  of  the  Risen  Christ,  on 
the  Bandini  Piccolomini  tomb  in  the  north  aisle 
of  the  Duomo  of  Siena,  may  be  his  handiwork. 
No  definite  testimony,  unfortunately,  can  be 
adduced  in  support  of  this  suggestion.^  The 
commission  of  June  22nd  also  tenders  proof  of 
the  high  esteem  in  which  he  was  held,  both  as  a 
man  and  an  artist ;  inasmuch  as  no  fewer  than 
four  of  the  lads,  selected  to  be  educated  at  the 
expense  of  the  Cathedral  Office  of  Works,  were 
placed  under  his  charge. 

^  We  read  (Bottari,  Op.  cit.,  etc. ;  Turchi,  Op.  cit.,  etc.)  of  a  ^^  Head  of 
S.John"  for  which  Bazzi  is  said  to  have  given  lo  scudi. 

2  Cf.  Shakespeare,  The  Winter's  Tale,  Act  V.,  sc.  ii.  "  3rd  Gent. 
No :  the  princess  hearing  of  her  mother's  statue,  which  is  in  the 
keeping  of  Paulina, — a  piece  many  years  in  doing,  and  now  newly  per- 
formed by  that  rare  Italian  master,  Julio  Romano ;  who,  had  he  him- 
self eternity,  and  could  put  breath  into  his  work,  would  beguile  Nature 
of  her  custom,  so  perfectly  he  is  her  ape." 

Baron  Rumohr  {Italienische  Forschungen,  chap.  xiv.  pp.  384-89) 
records  a  fragment  of  a  painting  by  Bazzi  in  tempera  on  muslin 
{JVesseltuche)  representing  the  Metamorphosis  of  Cephalus,  which  dis- 
played strongly  the  artist's  ability  in  sculptural  effect.  This  fragment, 
however,  seems  to  have  disappeared. 


Photo:  Lombards 


RISEN   CHRIST. 
STATUETTE. 

BANDINI   PICCOLOMINI   TOIIB.       DUOMO,    SIENA. 


To  face  p.  126. 


OF  THE 

UNIVERSITY 
'^^  OF  .^ 
44'FORti^ 


CHAPTER   VI 

SECOND   VISIT   TO    ROME 

Two  of  Bazzi's  most  celebrated  compositions  were 
painted  during  these  years  15 10-15.  Conjecture 
and  diversity  of  opinion  has  been  rife  concerning 
both.  First,  in  order  of  time,  comes  the  famous 
Christ  at  the  Column,  now  in  the  Gallery  of  the 
Accademia  delle  Belle  Arti  in  Siena  (Room 
VIII.  No.  352).  Reams  of  rhapsody^  by  writers 
of  every  description  have  been  poured  forth 
concerning  this  fine  painting  ;  and  it  is  so  well 
known  through  countless  reproductions  that  a 
description  seems  scarcely  necessary.  We  would 
only  remark  that :  defaced  though  it  be  by  neglect 
and  pure  love  of  mischief ;  disfigured  by  separation 
from  the  larger  fresco  of  which  it  formed  part ; 

^  Perhaps  the  most  inapt  is  that  by  Nathaniel  Hawthorne  in  his 
popular  novel   "  Transformation,"  which  runs  as  follows : — 

"Sodoma,  beyond  a  question,  both  prayed  and  wept,  while  painting 
his  fresco  at  Siena  of  Christ  bound  to  a  pillar.  ,  .  .  Sodoma  in  this 
matchless  picture  has  done  more  towards  reconciling  the  incongruity 
of  Divine  Omnipotence  and  outraged  suffering  Humanity,  combined  in 
one  person,  than  the  theologians  ever  did. 

This  hallowed  work  of  genius  shows  what  pictorial  art,  devoutly 
exercised,  might  effect  in  behalf  of  religious  truth ;  involving  as  it  does 
deeper  mysteries  of  revelation,  and  bringing  them  closer  to  man's  heart 
and  making  him  tenderer  to  be  impressed  by  them,  than  the  most 
eloquent  words  of  preacher  or  prophet."  (London  :  Smith,  Elder  &  Co., 
1891,  p.  290.) 

Students  of  the  life  of  the  painter  will  appreciate  how  entirely  the  great 
novelist  has  been  carried  away  by  enthusiasm  and  false  sentiment. 

127 


128  SECOND   VISIT  TO    ROME 

and  removed  from  the  place  for  which  it  was 
designed  ;  in  spite  also  of  the  inappropriate  and 
ugly  frame ;  and  though  hung  amid  everything 
that  is  unsuited  to  the  subject : — this  masterpiece 
still  remains  unrivalled.  Originally  painted  on 
the  wall  of  the  cloister  of  the  Franciscan  Convent 
in  Siena,  it  remained  in  situ,  exposed  to  every 
kind  of  injury  and  ill-treatment,  until  1842,  when 
this  treasure  —  all  that  had  survived  of  a 
much  larger  work — was  sawn  from  its  place  and 
removed  to  the  custody  of  the  Academy  of 
Fine  Arts.^  Vasari  dismisses  this  important 
fragment  almost  without  comment ;  although  he 
adds  information  of  some  interest  concerning  the 
rest  of  the  composition.  He  tells  us  that  facing  the 
Principal  Figure,  the  executioners,  etc., — traces  of 
whose  arms  are  stillvisible — Pilate  was  represented 
surrounded  by  many  Jews  {molti  Giudei),  and 
that  among  the  crowd  was  the  painter  himself, 
with  long  hair  "as  then  worn"  [come  si portavano 
allora). 

Delia  Valle,  who  likens  the  Man  of  Sorrows 
to  a  "  suffering  Jupiter  by  Pheidias,''  gives  a 
pathetic  description^  of  the  state  in  which  he  found 

^  The  student  is  recommended  to  compare  this  fine  fresco  with  a 
similar  representation  in  the  cloister  at  Monte  Oliveto. 

^  Delia  Valle,  Op.  cit.,  p.  263.  "  Dietro  a  questa  pittura  vi  h  un  pozzo, 
e  sopra  il  pozzo  la  cucina ;  Quella  parte  della  figura  che  corrisponde  alia 
cucina  non  ha  altro  danno,  se  non  quello,  che  pure  ^  gravissimo  sofferto 
da  alcuni  chiodi  fitti  nel  muro  vicino,  e  da  ragazzi  insolenti  ne'  loro 
giuochi ;  dalla  metk  delle  coscie  in  giii  corrisponde  al  pozzo,  e  la  pittura 
e  perduta  affatto,  e  minacciava  di  perdersi  totalmente ;  ma  avendo  i 
miei  amorevoli  confratelli  commesso  a  me  la  cura  di  ristorare  questo 
danno,  feci  nel  miglior  modo  riattare  i  mattoni  di  sotto,  e  con  alcune 
viti  rimettere  uno  sportello  che  lo  chiudesse.  E  perchb  il  ruvido  dell' 
intonaco,  che  troncava  parte  di  questa  bella  pittura,  non  offendesse 


Photo :  Lovibardi. 


CHRIST   AT   THE   COLUMN. 

SIENA    ACADEMY. 


To  face  p.  128. 


-CHRIST   AT   THE   COLUMN"         129 

this  grand  work  at  the  end  of  the  eighteenth  century. 
He  tells  us  that  behind  the  painting  there  was 
a  well,  with  the  kitchen  above ;  that  the  portion 
fronting  the  latter  was, — in  spite  of  a  nail  driven 
into  the  wall  and  the  actions  of  mischievous  boys 
in  their  play, — not  absolutely  ruined;  but  the  well- 
mouth  opened  half  way  down  the  thighs  of  the 
Saviour's  Figure :  a  circumstance  that  certainly 
threatened  to  destroy  the  fresco  altogether.  This 
pious  antiquary  relates  how,  through  his  efforts, 
certain  repairs  were  done.  A  door  was  made  to 
close  the  well ;  and  in  order  that  the  whitewash, 
which  covered  parts  of  the  composition,  should 
not  offend  the  eye,  he  caused  a  curtain  to  be 
painted  over  it, — adding  somewhat  plaintively  that 
this  improvement  (!  !)  was  a  failure.  Not  until  half 
a  century  later  were  the  remains  at  length  removed 
from  further  risk  to  a  safer  resting-place. 

The  facts  we  can  gather  concerning  the  execution 
of  this  picture  are  as  follows :  Sigismondo  Tizio, 
under  date  15 17,  records  the  death  on  February  8th 
of  one  Lucas  Politianensis,  a  Franciscan  friar  and 
Professor  of  Theology.  He  further  states  that  this 
Friar  Lucas  was  Guardian  of  the  Con  vent  of  S .  Fran- 
cesco in  Siena,  and  that  during  his  term  of  office, 
divers  artistic  additions, — including  the  marble 
doorway  at  the  west  end  and  a  rose  window  above, 
— were  made  to  that  church.  He  adds  finally:  Hie 
ex  die,  qua  mons  Politianus  ad  Florentinos  rediit, 

V  occhio  feci  coprirlo  con  un  velo  finto,  il  quale  non  riuscendo  bello,  vi 
feci  scrivere  sopra  questo  verso  : — Avesse  teso  almeno  Parrasio  il  velo. 

I.a  mano  sinistra,  e  alcune  altre  cose  fuori  della  figura  sono  state 
ritoccate  da  un  pennello  ladro,  e  disgraziato.  La  figura  b  alta  piU  del 
naturale." 


I30  SECOND   VISIT   TO    ROME 

Senae  commoratus  est,  Christum  flagellis  ccesum  ad 
unguium  primi  claustri  pingi  fecit .  The  cession 
of  Montepulciano  to  Florence  took  place,  we  read, 
somewhere  between  1510  and  151 1,  but  we  have 
no  definite  knowledge  that  Fra  Luca  was  Guardian 
of  S.  Francesco  at  that  date.  Canonico  Lusini 
states^  that  he  held  that  office  in  1503,  and  again  in 
1 5 1 4 ;  but  in  a  list  of  these  worthies  in  the  Appendix 
of  his  work, he  names  ''Fra  Luca  di  Angela  diCione 
da  Siena''  for  1503,  while  the  Father  Guardian 
for  1 5 14  is  said  to  be  ''Fra  Luca  de  Cappelli  da 
Montepulciano r  '^  There  is,  indeed,  no  reason  for 
rejecting  the  suggestion  that  these  two  individuals 
may  be  one  and  the  same  person  ;  but  neither 
again,  on  the  face  of  it,  does  the  evidence  justify 
anything  but  an  open  verdict.  Delia  Valle  says 
(and  he  gives  as  his  authority  the  Libro  Nero  of 
the  Convent)  that  Fra  Luca  da  Montepulciano  was 
Guardian  at  some  time  between  the  years  1500  and 
1 5 1 7  for  a  period  of  four  years ;  but  the  only  definite 
notice  of  him  in  this  capacity  is  a  document  dated 
January  loth,  1515,  signed  Rev.  dup  {sic)  P.  M. 
Lucas  de  Montepolitiano.  There  is  nothing  to 
show  that  he  was  not  Guardian  also  during  the 
years  previous  to  15 14-15,  since  the  last  recorded 
official  is  one  Fra  Angela  di  Daniele  de  Campiani 
da  Siena,  who  occupied  the  post  in   15 10.     Fra 

*  Lusini,  Op.  cit.,  p.  137,  note  2. 

Archivio  di  Stato  di  Siena.  Carte  del  Convento  di  S.  Francesco, 
fol.  75. 

^  Lusini,  Op.  cit.,  p.  267.  It  is  possible  that  since  Montepulciano 
belonged  to  Siena  in  1503,  an  inhabitant  of  that  city  might  be  content 
to  be  called  da  Siena  ;  but  that  after  the  cession  to  Florence,  Fra  Luca 
perhaps  clung  to  his  native  place,  rather  than  be  called  da  Firenze. 


AGOSTINO    CHIGI'S   BEDCHAMBER  131 

Luca  may  have  succeeded  him  in  the  following 
year.  But  even  if  he  should  not  have  held  this 
responsible  office,  all  that  concerns  our  argument 
is,  that  at  the  date  of  the  treaty  (15 10- 11)  he 
was  living  in  Siena,  and  instrumental  then  in 
commissioning  the  painting.  The  usual  date 
assigned  to  this  work  is  15 14;  but  if  apart  from 
the  artistic  achievement  we  view  the  fresco  as  an 
historical  record,  we  hardly  see  how  the  date  can 
be  set  so  late.  It  cannot  in  any  case  have  been 
painted  later  than  15 15,  for  we  find  Fra  Giovanni 
da  Lucignano  and  Fra  Innocenzio  di  Neri  da  Siena 
as  Guardians  in  that  year  and  in  15 16  respectively. 
Probability  points  even  to  a  somewhat  earlier 
execution.^ 

The  other  important  work  falling  within  this 
period  is  the  decoration  of  Agostino  Chigi's  bed- 
chamber at  his  Villa  in  the  Trastevere.  The  learned 
writer.  Dr.  Richard  Foerster,  in  his  exhaustive 
treatise  on  this  Villa  ^  and  his  subsequent  article 
upon  the  representations  of  the  A lexander  and 
Roxana  /(^//,^  endeavours  with  considerable  skill 
and  acumen  to  combat  the  now  generally  accepted 
theory  that  Bazzi  paid  a  second  visit  to  Rome  for 
this  work,  subsequent  to  that  in  which  he  designed 
the  ceiling  of  the  Camera  della  Segnatura  in  the 

^  It  is  to  be  observed  here  that,  according  to  Vasari's  Chronology 
{Op.  cit.,  p.  388)  Bazzi's  visit  to  the  Prince  of  Piombino — whom,  by  the 
way,  he  calls  Jacomo  Sesto—looV  place  immediately  offer  the  painting  of 
Christ  at  the  Column. 

^  Dr.  Richard  Foerster,  Farnesina  Studien.  Rostock :  Hermann 
Schmidt,  1880. 

^  Dr.  Richard  Foerster,  Der  Jahrbuch  der  Konigl.  Preussischen  Kiinst- 
sammlungen,  15  Band,  1894,  "Z>/V  Hochzeit  des  Alexander  tend  der 
Roxana  in  der  Renaissance.^^ 


132  SECOND   VISIT   TO    ROME 

Vatican.  The  able  critic,  in  his  enthusiasm  for  his 
subject  and  principal  arguments  :  viz.,  the  dates  of 
the  building  of  the  Villa,  and  the  work  therein  by 
Raphael  and  Sebastiano  del  Piombo  :  has,  neverthe- 
less, failed  to  give  due  consideration  to  those  well- 
authenticated  dates  in  Bazzi's  life,  which  seem  to 
entirely  exclude  any  acceptance  of  his  hypothesis, 
or  of  an  earlier  date  for  these  important  frescoes. 

Let  us  therefore  carefully  examine  the  dates, 
and  fix  them  as  far  as  we  approximately  can. 
Foerster,  after  marshalling  a  variety  of  facts, 
principally  drawn  from  Cugnoni,^  in  support  of 
his  contention,  reaches  the  conclusion  that,  com- 
menced in  1509,  the  Villa  itself  was  completed  in 
1511.^  About  1509,  or  soon  after,  two  metrical 
descriptions  of  the  house  appeared  in  print ;  ^  in 
the  second  of  which  occur  the  lines  : 

''  Ast  e porticibus  primis  sese  atria  pandunt 
Prima,  dehinc  alio  super  his  stant  altera  versu  : 
Haec  circtim  hand  mho  stant picta  cubilia  cidttt^' 

upon  which  the  German  critic  founds  his  argument 
and  lays  so  much  stress.  It  seems  scarcely  likely, 
however,    that   so    enthusiastic    a   panegyrist   as 

^  Cugnoni,  Op.  cit. 

^  It  is  a  curious  fact, — and  one  worthy  of  note  in  a  "  Life^^  of  one  of  her 
most  distinguished  sons, — how  workmen  from  Vercelli  are  found  among 
those  employed  at  the  Farnesina.  We  read  of  a  certain  Giovanantonio 
Invercellini  of  Vercelli,  a  smith,  who  in  1510  contracted  to  supply  Chigi 
with  hinges  for  the  doors  of  his  new  villa. 

^  Suburbanum  Augustini  Chisii  opus  per  Blasium  Palladium  impressum 
Romae  per  Jacobum  Mazochiuw,  Romance  AccademicB  bibliopolam  anno 
salutis  MDXII. 

De  Viridario  Augustini  Chigii  Patritii  Senen,  vera  libellus  Galli 
Egidii  Romani  poe.  laur.  impressum  Romae  per  Stephanum  Guillireti  et 
Herculem  nani  consocios  anno  Domi.     1511. 


THE    VILLA   FARNESINA  133 

Palladio  would  have  dismissed  so  important  an 
undertaking  as  these  frescoes  with  a  curt  phrase 
\\\it  picta  CMbilia.  It  is  possible, — nay,  even  pro- 
bable, judging  from  the  rest  of  the  evidence, — that 
other  rooms,  or  some  paintings  since  destroyed  or 
superseded,  are  indicated  by  these  words.  Or  it 
may  even  be  that  the  poet  being  aware  that  Chigi 
did  intend  to  paint  his  sleeping  apartments,  spoke 
of  them  beforehand  as  an  accomplished  fact. 

Foerster^  would  determine  the  date  of  Bazzi's 
Farnesina  labours  in  accordance  with  the  literal 
reading  of  Vasari  ; — i.e.,  immediately  after  the 
abrupt  termination  by  Julius  IL  of  the  painter's 
contract  at  the  Vatican  (1509).  Now,  although  it  is 
more  than  likely  that  Bazzi  did  not  at  once  abandon 
the  city  on  that  occasion,  still  his  marriage  in  Siena 
in  October  15 10  furnishes  irrefragable  proof  that 
he  had  left  Rome  in  the  course  of  the  autumn  of 
that  year.  The  births  of  his  children,  together  with 
the  other  documentarily  proven  events,  render  his 
alleged  departure  from  Siena  in  151 1  exceedingly 
doubtful.  Moreover  Chigi  himself  was,  as  Foerster 
tells  us,  absent  from  Rome  during  the  early  months 
of  1 5 10.  Going  first  to  Bologna  in  company  with 
Pope  Julius  IL, — from  whom,  on  March  loth, 
151 1,  he  obtained  a  cardinal's  hat  for  the  Sienese 
patrician    Alfonso    Petrucci,^ — he    proceeded    to 

^  Foerster's  statement  {^Die  Hochzeit^  etc.,  note  2)  that  Albertini  {Op. 
cit.)  records  the  Farnesina  among  the  sights  of  Rome  as  early  as  June  3rd, 
1509,  and  that  therefore  the  frescoes  themselves  should  be  placed  before 
15 1 2  rather  than  later,  seems  scarcely  to  accord  with  his  earlier  propo- 
sition that  the  fabric  was  not  commenced  until  1509,  nor  finished  until 
1511. 

^  Whose  horses,  it  will  be  remembered,  contested  with  those  of  our 
artist  at  several  Sienese  Palii. 


134  SECOND   VISIT   TO    ROME 

Venice,  whence  he  returned  with  the  beautiful 
Francesca  Andreazza  (or  Ordeasca),  his  mistress, — 
subsequently  his  wife, — bringing  with  him  also 
Sebastiano  del  Piombo.  His  return  to  Rome 
with  this  lady, — whom  he  did  not  however  marry 
until  August  1 5 19, — may  have  fired  him  with 
the  desire  to  decorate  his  nuptial  chamber  in  her 
honour. 

While  a  second  visit  to  Rome  on  Bazzi's  part 
earlier  than  15 14  does  not  lie  outside  the  range  of 
possibility,  yet  the  task  before  him  was  not  one  that 
could  be  accomplished  in  a  few  days ;  and  to  set 
him  to  work  there  immediately  on  the  completion 
of  the  villa  in  151 1,  so  as  to  have  completed  the 
undertaking  by  the  end  of  15 12,  is  a  theory  mani- 
festly untenable  in  view  of  ascertained  dates  of  the 
artist's  life.  Stilcritik,  moreover,  suggests  in  this 
work  a  more  advanced  style  and  power  than  Bazzi 
exhibits  at  the  date  proposed  by  Dr.  Foerster. 
Although  venturing  to  disagree  with  that  able 
writer  in  matter  of  dates,  we  are  cordially  at  one 
with  his  description  and  enthusiastic  criticism  of 
the  frescoes  themselves,  and  cannot  do  better  than 
quote  largely  from  his  writings,  strongly  recom- 
mending the  reader  to  study  his  interesting  essays 
on  the  Villa,  which  form  a  fund  of  most  valuable 
information,  embracing  everything  connected  with 
the  building  and  its  celebrated  founder. 

The  principal  portions  of  the  work  are  dis- 
played on  the  north,  east,  and  west  walls  of  the 
bridal  chamber.  The  south  wall,  broken  by  the 
window,  is  undecorated ;  and  the  ceiling,  upon 
which  are  represented  a  number  of  minor  scenes 


'^     OF  THE     ^r 

UNIVERSITY 


THE    MARRIAGE    OF   ALEXANDER  135 

from  classical  mythology,  has  never,  we  believe, 
been  attributed  to  Bazzi. 

The  centre  of  interest  is  unquestionably  the 
northern  wall,  whereon  is  depicted  The  Marriage 
of  Alexander  and  Roxana} 

The  bridal  chamber,  of  oblong  shape,  at  once  transports 
the  spectator  to  the  realms  of  fancy,  where  imagination 
rather  than  reality  holds  sway.  Access  is  open  from  all 
sides ;  be  it  through  a  colonnade  from  the  rear  or  by  other 
openings  right  and  left.  The  centre  of  the  apartment — 
the  back  wall  of  which  is  adorned  with  medallions — is 
occupied  by  the  bridal  couch,  in  the  form  of  a  small  highly 
ornamented  temple.  Along  the  frieze,  engaging  groups 
of  mermaids,  centaurs,  and  sea-horses  gaily  disport  them- 
selves. The  marriage  rite  is  nowhere  concealed.  The 
bride,  clothed  only  in  some  transparent  drapery,  is  seated 
on  the  side  of  a  wide  couch.  Ablutions  have  been  con- 
cluded, for  two  handmaidens  are  seen  to  the  left  bearing 
aloft  the  needful  vessels.  The  attendant  nearest  to  the 
bride,  and  turning  her  back  to  the  spectator,  carries  a 
marble  vase  on  her  head,  supporting  it  with  her  left  arm ; 
while  the  other  hand  holds  up  the  long  peplum  draping 
her  form.  This  garment,  leaving  both  arms  free,  exposes 
the  left  shoulder  and  a  portion  of  the  back.  The  activity 
of  her  ministrations  is  shown  by  the  disorder  of  her  head- 
dress ;  and  locks  of  hair  stray  over  forehead,  cheek,  and 
right  shoulder.  She  gazes  upon  her  mistress  with  an 
expression  of  faithful  devotion.  The  second  attendant, 
similar  to  the  first  in  clothing,  but  with  her  tresses  altogether 
unbound,  bears  a  vessel  and  a  napkin,  and  moving  away, 
glances  backwards  to  cast  a  cold  look  at  the  central 
group.  The  third  attendant  exhibits  a  sharp  contrast 
to  both  her  companions  :  she  is  a  negress,  and  wears  a 
white  turban.     She  gazes  shyly  at  the  bridal  pair  from 

^  The  translations  which  follow  must  not  be  taken  as  literal;  but  they 
convey,  we  believe,  the  sense  of  Foerster's  admirable  original. 


136  SECOND   VISIT   TO  ROME 

behind  one  of  the  columns  of  the  canopy,  the  while  she 
draws  back  with  her  left  hand  the  curtain  concealing  them 
from  view. 

Roxana  is  seated,  her  right  leg  crossed  over  the  left. 
Her  right  arm  rests  on  a  cushion,  and  her  glance  is  bent 
to  the  ground.  Her  left  hand  raises  her  garment  slightly 
over  the  right  ankle ;  whilst  a  Cupid,  stooping  on  the 
ground,  attempts,  with  sly  looks  and  more  zeal  than  success, 
to  loosen  the  cords  of  her  sandals.  Her  hair  is  decorated 
with  ornaments  fastened  on  the  forehead  by  means  of  a 
ribbon,  but  the  ends  of  the  tresses  are  loosened  and  fall 
in  ringlets, — one  curl  to  the  right,  and  the  remainder  to  the 
left,  over  her  bosom.  The  single  diaphanous  veil,  which 
leaves  both  arms  bare,  and  fails  to  conceal  the  outline  of 
bust  and  torso,  has  fallen  from  her  left  shoulder  on  to  the 
arm.  Aputto,  poised  on  her  left  foot  and  caressing  her 
cheek,  his  fingers  playing  with  a  lock  of  hair,  uncovers 
her  left  side.  His  expression  might  be  translated  thus  : 
Look  upon  such  beauty  and  die  ivith  longing.  This  figure, 
clothed  in  a  short  kirtle  and  fluttering  sash,  would  verily 
appear  to  enact  the  part  of  a  handmaiden  to  the  bride, 
Trapdvvixcjio^  or  vvixKJievTpia.  A  second  putto,  looking  up 
from  under  her  right  leg,  caresses  the  left  foot,  displaying 
unmistakable  admiration  by  his  upturned  glances  directed 
at  the  attendants. 

Alexander,  a  fair  youth  with  flowing  locks,  wears  a 
cloak,  armour,  and  leggings,  and  his  helmet  stands  upon 
the  ground  before  him.  Advancing  with  an  engaging 
smile  towards  the  couch,  he  tenders  Roxana  an  Eastern 
crown.  A  third  Cupid  precedes  him,  and,  having  wound 
a  scarf  or  girdle  round  Alexander's  right  leg  and  left 
shoulder,  is  drawing  him  as  it  were  towards  felicity.  A 
fourth  crouches  under  Alexander's  greaves,  which  he  holds 
with  both  hands  ;  apparently  either  to  ease  his  shoulder 
from  the  burden,  or  more  probably  because  he  is  playing 
at  hide-and-seek  with  a  comrade.  A  fifth  conceals 
himself  behind  the  figure  of  Hymen. 


THE    MARRIAGE   OF   ALEXANDER  137 

A  little  way  behind  Alexander,  in  a  very  fine  group,  stand 
Hymen  and  Hephaestion,  who  appear  rapt  in  admiring 
wonder  at  Roxana's  beauty.  Hymen  is  represented  as  a 
beautifijl  youth  with  hyacinthine  curls,  and  a  countenance 
in  which  the  feelings  of  admiration  and  desire  are  consum- 
mately mingled.  Raising  his  right  arm,  he  gathers  upon  his 
hip,  with  the  left,  the  folds  of  the  long  mantle  that  leave  the 
larger  portion  of  his  body  exposed.  Hephaestion,  resting 
his  hand  on  Hymen's  right  shoulder,  likewise  directs  his 
glance  at  the  central  group.  Garbed  like  Alexander  in 
cloak,  armour,  etc.,  he  holds  as  groomsman,  a  lighted  torch 
in  his  right  hand  :  viz.  Trapo^o?,  vvyif^ayioyo^t  Trdpavvfi(f)o<;. 
His  features  are  broad,  somewhat  coarse,  and  the  coun- 
tenance naturally  expresses  greater  realism  than  his 
companion's.  A  sixth  Cupid,  crouching  behind  Hymen, 
beside  the  pilaster  by  the  entrance  to  the  chamber,  leans 
upon  his  right  hand,  and,  holding  Alexander's  lance  in 
his  left,  rests  the  weapon  against  his  right  shoulder.  He 
has  wound  Alexander's  scarf  round  his  body,  and  his 
glance  is  turned  towards  the  fourth  Cupid.  Two  more 
Loves  follow  bearing  a  third,  the  smallest  of  their  number, 
on  Alexander's  shield ;  or  rather  they  are  letting  both  fall 
in  their  fi-ight  on  perceiving  the  fourth  member  of  their 
group,  who  has  blackened  his  face  to  resemble  a  negro, 
and  having  crept  inside  Alexander's  cuirass,  which  stands 
at  the  extreme  right  of  the  picture,  darts  up  suddenly 
while  the  shield-bearers  march  past  in  triumph.  The 
tiniest  of  the  Loves — borne  upon  the  shield — starting 
backwards,  clutches  the  ground  with  his  left  hand.  The 
pu^ft  in  this  group  seem  to  be  wingless.  Their  leader  and 
the  blackamoor  wear  fillets  round  their  heads,  while  No.  2 
is  clothed  in  a  short  garment  or  kirtle.  The  expression  of 
all  three  is  most  attractive. 

The  open  country  beyond  forms  the  background ;  a 
landscape  where  horsemen  are  seen  riding  past.  Some 
cross  a  bridge,  and  are  galloping  along  the  road  leading 
in  the  contrary  direction.     A  steep  hill  on  the  opposite 


138  SECOND  VISIT   TO    ROME 

river-bank  rises,  crowned  by  a  castle,  at  the  foot  of  which 
nestles  a  group  of  houses. 

Amorini  swarm  everywhere  in  the  bridal  chamber.  At 
the  entrance  we  meet  two,  flying  downwards  with  Alex- 
ander's sword,  bow  and  quiver.  A  third,  poised  above 
Hephaestion's  head,  bow  and  shaft  in  hand,  points  with 
his  right  hand  at  the  bridal  pair,  whom  Love's  bolt  has  just 
struck.  Next  to  him  a  fourth  hands  an  arrow  to  a  fifth, 
who  advances  from  behind  the  curtain  over  the  canopy  to 
receive  the  gift.  Three  other  Cupids  shoot  their  arrows 
right  and  left.  Two  more  stand  on  the  side  of  the  canopy 
facing  the  entrance  ;  one  of  whom  has  drawn  the  curtain 
around  his  body,  so  that  only  the  eager  little  face,  the  legs, 
and  part  of  the  figure  are  visible.  His  companion  crouches 
behind  him.  Two  more  Loves  stand  behind  the  canopy  : 
one  in  the  centre  peeps  through  the  curtain  ;  the  other 
at  the  left  corner,  intent  upon  extricating  himself  from  the 
drapery,  looks  downwards  at  the  female  attendants.  Yet 
another  Cupid,  flying  above  the  head  of  the  latter,  dis- 
charges his  arrows  at  Alexander.  The  action  of  this  band 
o{  Amorini  r^c\\i\r^s>  no  explanation.  The  scene  enacted 
before  our  eyes  breathes  an  atmosphere  of  intense  reality, 
allied  with  exquisite  refinement  in  the  infinite  variety  of 
their  attitudes  ;  and  induces  in  the  beholder  a  sense  of 
deep  and  consummate  harmony. 

This  wonderful  composition  was  clearly  inspired 
by  Lucian's  description  of  a  picture  by  Action,^  and 

Lucian  writes  :  tcrnv  r]  cJkwv  iv  'IraXia  Kayw  elSov,  wcrre  kol  croi  iciv 
ciTrciv  cxpi/XL.  OdXa/Jio?  ecrri  TrcptKaW'^s  kol  kXivt]  vu/x^ik^,  kol  rj  Poi^dvrj 
KaOtfai,  irdyKokov  Tt  )(prj[Jia  trapOevov,  e?  yyjv  bpStcra  alSovfJLevrj  kuTdra  tov 
' AXi^avhpov'  "EpwTcs  8e  tives  /xetSioJVTCs  6  fjikv  kotottlv  i(f)€(TT(iy<s  airdyeL  t^5 
K€<jia\.r]<;  ttjv  KaXvTrrpav  kol  SeiKvvai  tw  vvfjifftLO)  rrjv  'Pta^dvrjv,  6  Se  Tt5  fxdXa 
SouXiKws  a.(f}aipu.  to  (ravSaAiov  ck  tov  ttoSos,  ws  KaTaicXivotTo  ^Sr;,  oAXos  r^? 
^Xavioos  ToS  'AXc^avSpov  iTreLXrj/J,fX.evo^''lSip(o^  koI  ovtos  cXkci  auTOV  irpbs  t^v 
Poi^avT^v  Trdw  ^latcos  iTncnr(j)p.evos,  6  f^aatXev^  Se  auTos  ftev  (rTecf>av6v  Ttva 
opeycL  Tg  TraiSt,  Trdpo^os  Se  kol  vu/x.<^aya)yos  'H^aicTTtW  (TVfXTrdpiCTTL  Baoa 
Kaio/xfvrjv  e;(0)v  />ieipaKta>  Trdw  wpato)  eTrepeiSoju.o'os,  'Y/Aevaios  oTfiaC  ka-Tiv'  ov 
yap  CTTiycypaTTTai  Tovvofj.a.      eripwdi  St  t^s  ci/covos  aAXoi  "EptoTts  irai^ovtrw 


DRAWINGS  139 

it  may  be  advantageously  studied  in  connection 
with  the  numerous  drawings,  in  the  various  public 
and  private  collections  throughout  Europe, — so 
long  attributed  to  Raphael,— and  also  with  the 
frescoes  by  one  of  the  master's  pupils  (possibly 
Perino  del  Vaga),  painted  in  the  so-called  Villa  of 
Raphael  on  the  Pincian  Hill,  now  preserved  in  the 
Casino  Borghese  in  Rome.  It  should  be  observed 
that  two  contemporary  writers  ^  agree  in  recording 
a  drawing  by  Raphael  representing  this  very  sub- 
ject, which  was,  according  to  Vasari,^  engraved  by 
Agostino  Veneziano.  How  far  this  drawing  may 
have  influenced  Bazzi,  or  whether  he  even  saw  it 
before  executing  his  work,  must  ever  remain  a 
matter  of  conjecture ;  but  it  would  seem  that  the 
sketch  for  the  principal  figures,  in  the  Ufifizi  Collec- 
tion (Case  343,  No.  1479),  generally  accepted  {pace 
Foerster)  as  the  work  of  Bazzi,  may  very  well  have 
been  a  rough  copy  by  him,  from  some  drawing 
originally  sketched  by  his  friend  Raphael,  and  in- 

iv  TOis  OTrXots  Tov  'AXe$dv8poVy  8vo  fx-ev  ttjv  \dy;(r/v  airov  </)6poi/Tcs,  fUfiovfxevot 
Toi»s  a.^6o(f>6pov<;,  oirore  Sokov  (f)€povTe<;  (3apolvTo,  aAAot  8k  8vo  €va  nva  ctti 
r^5  aarTrC8o<;  KaraKet/xcvov,  /SacrtXia  8rj6ev  kol  aurov,  avpovai  twv  o^^avwv  ttjs 
cto-TTtSo?  £7rttX7//it/xevot,  CIS  8k  8r]  e?  tov  dwpaKa  icreXOoiV  vtttlov  KCLfievov  Xo^wvTi 
eOLKev,  o)S  (fiofirjcreuv  avrou?,  ottotc  Kar  airov  yevoivro  oT^povTcs.  Cf.  Adolfo 
Venturi,  Tke  Farnesina,  pp.  67  e  seg. :  Rome  (Edelweiss  Series),  1891. 

Foerster  remarks  that  it  is  not  evident  how  Bazzi  became  acquainted 
with  Lucian's  description,  but  it  was  probably  through  a  I^tin  trans- 
lation ;  since  the  Greek  word  o-rc^avos  =  a  wreath,  becoming  corona  =  a 
crown,  has  been  represented  by  the  painter  as  an  actual  diadem. 

^  Lodovico  Dolce,  Dialogo  della  Pittura  :  "L'Arefi'no."  Venezia,  1557 
{French  and  Italian) ;  Firenze,  1735  ;  Milano  (Biblioteca  Rara),  vol.  x. 
1863.  Gio.  Paolo  Lomazzo,  Trattato  delP  Arte  della  Pittura  e  della 
Scultura.     Milano,  1584. 

^  Vasari,  Op.  cit.,  vol.  v.  p.  415,  note®.  It  is  now  generally  agreed 
that  Jacopo  Caraglio,  and  not  Agostino  Veneziano,  was  the  author  of  this 
engraving. 


I40  SECOND   VISIT   TO  ROME 

tended  as  a  note  for  his  own  proposed  composition. 
The  words  "  di  rafel  da  Urbin  "  below,  which  seem 
to  be  contemporary  with  the  drawing,  and  have  led 
to  so  much  discussion,  are,  we  believe,  in  Bazzi's 
own  handwriting,^  and  would  indicate  the  likeli- 
hood of  the  drawing  being  a  copy,  made  by  an 
artist  not  too  proud  to  accept  a  suggestion,  in  the 
form  of  a  fragmentary  conception  that  pleased 
his  fancy.  That  Bazzi  did  not  actually  adopt  that 
very  grouping  of  the  figures,  we  know ;  and  that 
the  painter  of  the  inferior  frescoes  did,  would 
suggest  the  conclusion,  that  this  particular  mode 
of  illustrating  Lucian's  text  was  Raphael's.  An 
exhaustive  examination  of  all  these  drawings  would 
require  a  volume  to  itself,  and  a  digression  here 
would  occasion  a  serious  break  in  the  sequence  of 
our  narrative.  We  would  therefore  postpone  the 
task,  referring  the  student  instead  to  Foerster's 
painstaking  studies.^ 

"Sodoma's fresco"  (he  continues),  "in  my  opinion,  ranks 
among  the  finest  productions  of  the  Classical  Revival 
of  Renaissance  art.     If  inferior  to  the  School  of  Athens 

^  A  comparison  with  his  known  handwriting  certainly  lends  colour 
to  this  supposition. 

2  The  drawing  mentioned  by  Foerster  on  p.  12  of  his  essay  in  the 
Jahrbiicher  {Hochzeit,  etc.)  and  numbered  3,  which  he  believes  to  be 
lost,  may  perhaps  be  traced  in  a  design  belonging  to  Mr.  J.  P.  Hesel- 
tine  (196,  Queen's  Gate,  London).  This  sketch  answers  to  Foerster's 
description  exactly.  It  was  bought  by  its  present  owner  at  Sotheby's 
(Mr.  Tiffin's  sale),  June  20th,  1891,  where  it  was  marked  Lot  206.  It  had 
been  in  the  possession  successively  of  Timoteo  Viti,  Crozat,  the  Marquis 
de  Legoy,  Dimsdale,  and  Sir  T.  Lawrence — in  whose  collection  it  was 
numbered  63  and  marked  "  T.  L."     It  is  signed  "  Raffael  da  Urbino." 

Another  interesting  drawing  is  recorded  by  Frizzoni  {Op.  cit.,  p.  142) : 
A  design  for  Roxana^s  Red,  No.  177  (formerly  attributed  to  Baccio 
Bandinelli)  in  the  Taylorian  Museum  at  Oxford. 


FOERSTER'S   VIEWS  141 

only  in  depth  of  grandeur  of  conception,  this  is  due  to  the 
subject  depicted,  rather  than  to  any  inherent  shortcoming 
in  the  execution  ;  and  I  deem  it  one  of  Sodoma's  best 
paintings,  if  not  actually  his  masterpiece.  The  beneficent 
influence  exercised  over  the  artist  by  Leonardo  da  Vinci 
is  clearly  manifest.  Sodoma's  nature  could  not  have 
reached  those  summits  unaided,  nor  was  his  character 
capable  of  the  sustained  energy  that  sinks  all  other 
considerations  in  the  work  before  him.  Industry  and  the 
careful  attention  to  details,  without  which  no  work  can 
be  perfected,  are  not  everywhere  equally  evident.  For 
instance,  Alexander's  and  Hephaestion's  garb  are  some- 
what sketchily  treated.  Yet  Leonardo's  good  genius  or 
Sodoma's  good  fortune  have  piloted  the  undertaking  to 
a  triumphant  conclusion.  Roxana  herself,  and  all  acces- 
sories pertaining  to  her,  are  perfect  :  whether  we  admire 
most  her  form,  attitude,  colouring,  expression,  or  drapery. 
Her  head  may  well  be  considered  the  climax  of  creative 
fancy.  Thus,  too.  Hymen,  the  attendants,  and  the  Cupids ; 
than  all  of  whom,  nothing  finer  and  more  subtly  emotional 
can  be  conceived  or  drawn.  The  harmonious  construction 
and  beauty  of  the  composition,  the  attraction  of  its  inward 
meaning  are  unequalled  anywhere  ;  and  I  know  of  no 
painting  by  Sodoma  to  which  Paolo  Giovio's  judgment 
applies  in  so  marked  a  degree  : — Sodomas  .  .  .  quum 
impetuosum  animum  ad  artem  revocat  admiranda  perficit 
et  adeo  concitata  manu,  ut  nihilo  secius,  quod  mirum  est, 
neminem  eoprudentius  atquetranquilliuspinxisseappareat} 

Foerster  rejects  the  statement  of  various 
critics  ^  that  Bazzi  went  to  classical  antiquity  for 
his  single  figures.  But  although  we  may  admit, 
comparing  our  artist's  studies  from  the  antique 
with  those  of  Raphael,  that  in  this  respect  he  may 

^  Giovio,  Op.  cit. 

^  Jansen,  Op.  cit.,  p.  102.     Conze,  Heroen  und  Gottergestalten,  p.  32. 


142  SECOND   VISIT   TO   ROME 

be  said  to  have  fallen  behind  his  rival,  it  is  never- 
theless unquestionable  that  Bazzi  did  study  the 
sculpture  of  his  predecessors  and  contemporaries 
with  more  than  common  care  and  interest. 

The  frescoes  on  the  east  wall,  though  not  without 
considerable — and  even  unusual — merit  of  their 
own,  are  decidedly  inferior  to  the  wonderful  work 
just  described. 

Above  the  chimneypiece  Bazzi  painted  the 
Family  of  Darius  before  Alexander:  a  composition 
which  cannot  be  more  adequately  described  than 
by  quoting  once  more  from  Foerster  s  admirable 
essay : — 

The  principal  wall-decoration  of  this  side  of  the  room 
is  Darius  tent ;  or,  to  speak  more  accurately,  Darius 
family  before  Alexander.  A  curtain,  fastened  to  some 
tree  trunks,  drapes  the  background  ;  whilst  ornamental 
hangings,  suspended  to  the  branches,  form  the  tent  roof 
A  landscape  extends  to  the  right  and  left  of  the  tent.  In 
the  centre  are  grouped  the  principal  personages,  and  in 
their  midst  we  remark  the  most  successful  achievement 
in  the  whole  composition  :  a  fully-draped  female  figure, 
her  hair  bound  with  a  fillet,  her  head  and  part  of  her  form 
wrapped  in  a  shawl,  kneeling  before  Alexander  with 
arms  outstretched,  and  her  countenance  slightly  upturned, 
imploring  mercy.  Although  no  signs  of  age  are  visible 
in  her  aspect,  this  is  evidently  intended  for  Sisigambis, 
the  mother  of  Darius.  Her  three  grandchildren  stand 
behind  her — the  two  girls  draped  and  the  boy  nude. 
The  first  of  these,  with  eyes  downcast,  clings  in  evident 
despair  to  the  left  arm  of  her  companion,  who  looks  up 
beseechingly  at  the  king.  A  striking  contrast  is  here 
afforded  by  the  action  of  the  bold,  fearless-looking  boy, 
who,  clasping  her  right  hand  with  both  of  his,  draws 
forward  the  female  figure  behind  him.     The  latter  is  a 


THE    FAMILY   OF    DARIUS  143 

mere  girl ;  her  drapery  discloses  her  arm  and  bust.  She 
holds  her  left  arm  across  her  bosom, — the  classic  attitude 
of  Venus, — and  turns  her  head  away  from  Alexander. 

The  circumstance  that,  amid  her  surroundings,  this  is 
the  most  striking  figure,  justifies  the  conjecture  that  she 
may  be  Darius'  wife,  and  the  mother  of  the  boy.  The 
artist  himself  bears  a  share  of  the  responsibility  of  our 
uncertainty,  for  he  has  given  her  no  special  attribute,  and 
her  mien  does  not  appear  more  distinguished  than  that  of 
any  of  the  other  personages.  Five  females  surround  her  ; 
their  attitudes  betokening  the  status  of  onlookers.  Their 
glances  are  turned,  some  to  the  right  and  some  to  the  left  ; 
whilst  the  fourth  and  fifth  are  represented  holding  each 
other's  hands.  The  first  three,  grouped  right  and  left  of 
Darius'  wife,  are  seen  only  down  to  the  waist.  A  most 
pleasing  impression  is  produced  by  the  fifth  figure,  already 
mentioned,  whom  we  see  in  profile  to  the  right,  evidently 
gratified  at  the  king's  clemency.  The  two  elder  women, 
standing  behind  the  girls,  are  probably  their  duennas. 
One  of  these,  with  downcast  eyes,  her  head  draped  in  a 
shawl,  lays  her  left  hand  upon  the  left  shoulder  of  the  girl 
beside  her ;  whilst  the  other  with  her  right  hand  caresses 
the  cheek  of  her  charge. 

Alexander  and  his  followers  occupy  the  right  side  of 
the  picture.  Here  again  he  is  depicted  as  a  youth  with 
flowing  locks,  wearing  a  helmet  and  a  full  suit  of  armour, 
cloak,  kilt,  hose,  leggings  fastenedat  the  knees,  and  buskins. 
Turning  a  genial  countenance  towards  Darius'  mother, 
with  an  encouraging  gesture  of  his  left  hand,  he  extends 
his  right  towards  her  to  assist  her  to  rise.  Beside  him 
stands  a  youth,  similar  to  himself  in  appearance  and  garb, 
— Hephaestion, — who,  with  left  hand  resting  upon  his 
sword,  directs  a  kindly  glance  upon  Sisigambis.  The 
suite  consists  of  warriors  armed  with  lances,  led  by  a 
standard-bearer.  The  workmanship  of  this  part  of  the 
composition  is  very  defective  ;  but  Sodoma  could  not  fail 
to  seize  the  opportunity  of  displaying  his  love  for  animals  ; 


144  SECOND   VISIT   TO    ROME 

and  he  introduces  into  the  picture,  behind  Hephaestion, 
a  barking  dog.  A  bridge  in  the  background  gives  access 
to  a  body  of  troops  ;  and  a  steep  hill,  topped  by  a  castle, 
towers  above.  There  is  a  tent  on  the  nearer  side  of  the 
bridge ;  before  which  groups  of  warriors  are  seen  engaged 
in  combat.  The  foreground  is  filled  by  horse  and  foot 
soldiers.  Mention  must  be  made  of  the  male  figure  with 
bowed  head,  standing  behind  Sisigambis,  who  points  with 
the  finger  of  his  right  hand  at  Alexander ;  evidently 
indicating  him  rather  than  Hephaestion,  as  the  king.^ 

Below,  divided  into  two  portions  by  the  fireplace, 
is  Vulcans  Forge,  concerning  which  Foerster 
writes  as  follows  : — 

To  the  left  Vulcan  in  his  Smithy,  and  to  the  right 
Cupids  bring  their  arrows  to  Vulcan  to  be  sharpened. 
Vulcan  presents  a  short,  thick-set  and  ungainly  appear- 
ance. With  his  uncouth  features  almost  hidden  under  an 
unkempt  beard,  bushy  hair  and  shaggy  eyebrows,  he  is — 
as  Alberius  styles  him — a  typical  blacksmith.  The  pro- 
portions of  the  right  leg  are  somewhat  curtailed,  only  the 
toe  touching  the  ground.  The  left  knee  rests  on  a  wooden 
block,  while  the  uplifted  right  arm  swings  the  hammer, 
and  the  left  hand  grasps  the  pincers,  with  which  he  holds 
an  arrow,  head  downwards,  on  to  the  anvil.  A  Cupid 
with  fillet-bound  hair  leans  on  his  quiver  behind  Vulcan's 
right  shoulder,  and,  smiling  the  while,  draws  out  his  arrows. 
The  painting  fully  merits  the  praise  dealt  out  to  it  by 
Vasari.     Vulcan  is  well  designed  and  carefully  painted. 

The  Loves  to  the  right  of  the  fireplace  are  three  in 
number.  The  first  carries  his  arrows  on  his  left  shoulder, 
holding  them  with  his  right  hand,  the  second  steadies 
them  on  his  left  shoulder  with  both  hands,  whilst  a  third 

1  Foerster  gives  the  following  authorities  as  sources  of  inspiration 
for  this  painting:  Curtius,  iii.  12,  15  seg.\  Diodorus,  xvii.  37  seg.; 
and  Arrian,  Anabasis,  ii.  12,  6  seg. 


ALEXANDER  AND  BUCEPHALUS  145 

stoops  to  pick   up   a  few  that   have  fallen.     The  first- 
mentioned  is  the  best  of  the  three  figures. 

The  remaining  frescoes  are  briefly  described  as 
follows  : — 

Alexander,  on  a  prancing  white  charger,  is  observed 
galloping  across  the  scene  to  the  right,  scattering  his 
attendants  before  him.  Others,  among  whom  we  notice 
a  man  wearing  an  Eastern  crown, — perhaps  King  Philip, 
— watch  the  action  with  eagerly  expectant  mien.  The 
latter  stands  with  his  left  foot  resting  on  a  barrier  running 
along  the  entire  foreground,  his  right  hand  on  the  hilt  of 
his  sword.  Another  figure  stands  beside  him,  resting  his 
folded  arms  upon  an  Ionic  capital  ;  a  third  leans  upon  his 
comrade's  shoulder.  The  very  unsatisfactory  effect  of  this 
painting  is  due  to  the  ugly  and  distorted  countenances  of 
the  several  personages, — Alexander  even  included  ;  while 
the  architectural  portion  is  undoubtedly  the  most  notable 
feature  of  the  work.  A  temple  rises  behind  Alexander, 
in  close  proximity  to  a  structure  somewhat  resembling 
the  Colosseum  ;  and  further  back  we  discern  parts  of 
Constantine's  Basilica,  exactly  as  it  stands  to  this  day. 
The  pilasters  on  either  side  of  the  central  vaulting  alone 
are  visible.  In  the  foreground  lies  the  wolf,  suckling 
Romulus  and  Remus;  and  two  camels  look  upon  the 
scene  from  behind. 

The  picture  has  been  so  cruelly  restored  as  to 
blot  out  all  traces  of  Bazzi's  original  work.  Doubt, 
indeed,  has  arisen,  whether  the  painting  was 
executed  by  him  at  all,  and — such  is  the  irony 
of  fate — it  has  even  been  attributed  to  the  spiteful 
Vasari  himself.^     The  primary  conception  is  fine, 

^  Foerster,  with  reason,  points  out  that  a  rather  ambiguous  expression 
in  Crowe  and  Cavalcaselle  {^History  of  Painting  in  Italy ^  vol.  iii.  p.  392) 
can  in  no  wise  convey  the  idea  that  this  painting  was  in  their  opinion 
the  work  of  Beccafumi. 

10 


146  SECOND   VISIT   TO    ROME 

and  the  composition  as  a  whole  has  been  paralleled 
with  Raphael's  Expulsion  of  Heliodorus  in  the 
Vatican ;  to  which  it  does  indeed  bear  certain  super- 
ficial resemblance.  It  is  unquestionably,  however, 
a  vastly  inferior  work,  and  stands  in  unpleasant 
contrast  with  the  fine  paintings  which  adorn  the 
adjacent  walls. 

It  was  during  this  visit  to  Rome,  no  doubt,  that 
Bazzi  met  and  formed  a  warm  friendship  with 
Pietro  Aretino.  This  remarkable  personality, — a 
true  offspring  of  the  Italian  Renaissance,^ — born 
in  1492,  out  of  wedlock,  left  Arezzo,  his  native  city, 
at  an  early  age  for  Perugia,  where  he  followed  the 
trade  of  a  bookbinder.  A  passionate  thirst  for 
knowledge  led  him  to  study  attentively  the  works 
that  passed  through  his  hands  in  the  course  of  his 
daily  labours;  and  at  the  age  of  twenty,  ambitious 
for  higher  things,  he  started  for  Rome  on  foot,  with 
no  clothes  in  his  possession  but  those  he  actually 
wore.  Here  he  became  acquainted  with  Agostino 
Chigi,  whose  patronage  procured  for  him  the 
honour  of  a  presentation  to  Pope  Leo  X.  If, 
therefore,  as  we  have  endeavoured  to  prove,  Bazzi's 
work  at  the  Farnesina  was  executed  in  15 14,  the 
friendship  between  scholar  and  painter,  so  touch- 
ingly  alluded  to  in  the  charming  letter,  written  to 
the  latter  in  August  1545,^  must  have  struck  root 
at  this  time. 

.  ^  For  a  most  just  and  able  estimate  of  the  character  of  this  remarkable 
man,  the  reader  may  be  referred  to  a  thoughtful  essay  by  Arturo  Graf, 
entitled,  Un  Processo  a  Pietro  Aretino  {Attraverso  il  Cinquecento). 
Torino :  Loescher,  1888. 

2  Pietro  Aretino,  Lettere :  Parigi,  1609,  lib.  iii.  p.  163;  of  also  Mil. 
Doc,  vol.  iii.  p.  155,  No.  92.     Appendix  No.  30. 


THE   "ROXANA"  IDYLL  147 

We  may  fairly  submit,  without  fear  of  impu- 
tation of  partiality,  that  these  Farnesina  frescoes 
give  the  lie  to  many  of  Vasari's  insinuations. 
Where  in  the  Alexander  and  Roxana  Idyll  do  we 
detect  a  trace  of  lewdness  ?  The  splendid  young 
conqueror,  with  his  two  handsome  attendants, 
advances  with  a  bridegroom's  ardour,  hallowed  by 
respect  towards  his  lovely  bride.  Roxana,  her  eyes 
modestly  cast  down,  receives  him  with  demure 
yet  conscious  grace ;  whilst  her  maidens  look  on 
with  affectionate  solicitude.  The  swarm  of  Cupid 
attendants  all  express  the  purest  and  noblest 
emotions.  No  coarse  or  suggestive  antics  mar  the 
exquisitely  harmonious  charm  of  the  composition. 
Here,  if  ever,  was  an  opportunity  for  indulgence — 
if  not  in  absolute  obscenity — at  least  in  licence 
bordering  thereon.^  Chigi  was  a  man  of  easy,  even 
dissolute  habits.  He  had  but  just  returned  from 
Venice  with  his  beautiful  mistress,  to  whom  he  only 
consented  to  be  united  later, — after  eight  years'  co- 
habitation,— under  urgent  pressure  from  the  Holy 
Feather  himself;  and  Bazzi  would  hardly  have  been 
rebuked  had  he  chosen  to  indulge  in  ribald  plea- 
santries. These  compositions  speak  volumes  to 
the  painter's  credit ;  and  even  J.  Richardson  the 
Younger,^  in  his  violent  abuse  of  these  paintings 

^  We  have  only  to  compare  these  works  with  those  of  Raphael's 
pupils  elsewhere  :  all  contemporaries,  be  it  remarked,  of  Bazzi.  Notably 
in  the  palaces  at  Mantua  in  the  days  of  Isabella  d'Este. 

^  Trait'e  de  la  peinture  et  de  la  sculpture,  tom  iii.  p.  194.  Amsterdam  : 
Herman  Utwerf,  1728.  "Except^  un  certain  air  g^n^ral  de  I'Ecole 
Romaine,  les  Peintures  de  cette  Chambre  sont  bien  le  plus  execrable 
ouvrage  que  I'Art  ait  produit  dans  cet  Age  d'or,  II  n'y  a  pas  un  seul  bon 
Air  de  Tete,  pas  une  bonne  Attitude,  pas  un  Membre  bien  dessine,  ni 
aucune  Pensee  qui  se  fasse  remarquer  par  sa  beauts.    La  Description  de 


148  SECOND  VISIT  TO  ROME 

as  works  of  art,  can  find  nothing  to  say  against 
their  ideal  conception.^ 

During  this  same  sojourn  in  Rome,  Ba.zzi,  it  is 
probable,  once  more  entered  the  orbit  and  came 
under  the  influence  of  his  good  genius,  Leonardo 
da  Vinci.  The  Master,  we  are  aware,  journeyed 
to  Rome  early  in  15 13  in  the  train  of  Giuliano 
de'  Medici,  to  attend  the  coronation  of  Leo  X., 
and  remained  there  until  15 15.  His  whilom 
admirer,  if  not  disciple,  could  thus  scarcely  fail 
to  have  again  sought  his  company.  The  asso- 
nance between  the  drawings  and  paintings  of 
these  two  artists  is  so  extraordinary,  and  has  been 
so  fruitful  in  controversy  and  argument  between 
critics  past  and  present,  as  to  show  conclusively 
that  their  intimacy  at  some  time  in  their  lives 
must  have  been  close,  and  the  influence  of  the 
elder  painter  overthe younger,  something  altogether 
surpassing  the  ordinary.  The  number  of  draw- 
ings once  attributed  to  Leonardo,  which  are  now 
generally  (following  Morelli)  given  to  Bazzi,  con- 

Lucien  vaut  bien  la  peine  qu'on  la  lise  ;  quand  ce  ne  servit  que  pour  se 
consoler  un  peu  de  satisfaction  qu'on  a  eu  a  voir  cette  mauvaise  Peinture. 
II  est  impossible  que  le  Tableau  ait  surpass^  en  beaute  la  Description  que 
cet  auteur  en  fait."  'I'his  writer  also  states  that  the  smaller  guide-books 
to  Rome  in  his  day  attributed  these  frescoes  to  two  Mantuan  artists, 
Giovanni  Battista  Bertano,  and  Rinaldo. 

^  For  further  discussion  and  informatioa  the  student  may  also  refer 
to  Hermann  Grimm,  Ku77St  und  Kunstgeschichte,  June  1880.  Alfred 
Woltmann  und  Karl  Woermann,  vol.  ii.  pp.  662-94,  Part  IV.,  div.  iii.  G. 
Leipzig  :  Seemann,  1882.  Richard  Graul,  Die  graphischen  Kiinste,  xvi. 
Jahrgang.,  ii.  Heft,  p.  33  ff.,  1893.  A.  Venturi,  Op.  cit.,  pp.  11  ^  seg. 
J.  A.  Crowe  and  G.  B.  Cavalcaselle,  Raphael,  his  Life  and  Works. 
London:  John  Murray,  1885,  vol.  ii.  pp.  545-7.  Steinmann,  Op.  cit., 
p.  186.  Frizzoni,  Intorno  alia  Diviora  del  Sodoma  a  Roma  nel  1314.: 
\Giornale  di  Erudizione  Artistica,  vol.  i.  pp.  208-13,  ^^.sc.  vii.,  Luglio 
1872) ;  and  L'Arte  del  Rinascimento,  cit.  p.  138  <?  seg. 


BAZZrS    TYPES  149 

stitutes  a  most  eloquent  argument  in  support  of 
this  contention.  Bazzi's  work,  to  the  end  of 
his  life,  never  lost  the  Leonardesque  touch :  a 
touch  which  he  transmitted,  though  in  a  strangely 
degraded  form,  to  his  followers.  Bazzi's  types, 
however — strongly  Leonardesque  though  they 
be — never  manifest  that  expression  of  underhand 
wicked  cunning,  which  lurks  in  the  eyes  and  behind 
the  smile  of  the  greater  master's  creations  ;  but  the 
tender  dignity  of  mien,  which  distinguished  the 
creations  of  his  fancy,  eventually  became  a  snare 
to  himself  and  a  worse  pitfall  to  his  imitators. 


CHAPTER   VII 

MIDDLE   PERIOD 

An  incident  of  considerable  importance  in  our 
artist's  life,  in  connection  with  the  painting  which 
earned  for  him  the  title  of  Cavalier  of  Christ, 
occurs  about  this  time,  and  must  be  now  examined. 

Vasari  rambles  on  with  his  narrative  as  though 
the  event  in  question  had  followed  in  rapid  sequence 
upon  the  Farnesina  commission ;  which,  as  we  have 
said,  he  would  place  immediately  ^osimov  to  the  dis- 
missal of  thepainterfrom  the  Vatican.  Butweshould 
in  all  fairness  pause  to  study  a  few  more  dates, 
before  accepting  such  unwarrantable  conclusions. 

We  know  that  Leo  X.  was  not  elected  Pope 
until  March  nth,  15 13,  and  we  have  reason  to 
believe  that  Bazzi's  Farnesina  work  was  completed 
some  time  in  the  following  year.  We  should  next 
point  out  that  in  the  letter,  already  referred  to 
more  than  once,  from  the  Prince  of  Piombino, 
dated  June  i8th,  1515,  Bazzi  is  still  styled  only 
loan  Antonio  di  Averzd  mio  servitore.  In  the 
same  year  also  his  name  appears  in  the  books  of 
the  Opera  del  Duomo  Siena  as  M agister  Johannes 
Antoniits  alias  Sodoma  Pic  tore,  and  Giovantonio 
detto  el  Sodoma,  dipentore.  Again,  in  the  ledgers 
of  the  Compagnia  di  S.  Bernardino^ — wherein,  be 

^  Archivio  di  Stato  di  Siena.  Carte  della  Coinpagnia  di  S  Ber- 
nardino in  Siena.     Reg.  221,  f.  39. 

150 


THE    TITLE    OF   "CAVALIER"        151 

it  noted,  there  occurs  the  famous  designation 
Miss.  Giovannantonio  de  Tizoni  detto  il  Soddoma, 
pittore  da  Verz^ — he  is  described  in  all  the  entries, 
which  are  dated  as  late  as  December  31st,  15 18, 
with  the  prefix  of  Maestro  or  Messer.  It  is  only 
in  one  of  the  two  copies  of  a  subsequent  entry, 
dated  June  i6th,  1532,  that  he  is  given  the  title  of 
Cavaliere.  Scribes  in  those  days  were  admittedly 
careless,  and  even  in  later  years  we  find  this  title 
frequently  omitted.  Nevertheless  the  fact  remains 
that  the  first  authoritative  reference  to  his  title 
appears  in  an  instrument  dated  January  nth, 
1516-17.^  In  this  document  he  is  styled  Giovanni 
Antonio  da  Verzk^  dipintore  et  cavaliere,  a  circum- 
stance which  suggests  the  following  train  of  ideas. 
^2lZ7A,  we  gather  from  the  Prince  of  Piombino's 
letter,  was  in  Florence  about  the  middle  of 
June  15 15,  but  returned  to  Siena  before  the  end 
of  the  month.  During  that  autumn,  or  early  in 
the  following  spring  (15 16),  he  appears,  from  a 
letter  dated  May  3rd,  1518,  to  Francesco  Gonzaga, 
Marquis  of  Mantua,  to  have  meditated  a  visit 
to  Mantua  to  convey  a  picture  of  Lticretia^  — 
possibly  an  order  from  that  Prince  on  the  occasion 
of  one  of  the  Sienese  Palii,  to  which  we  have  re- 
ferred earlier  in  these  pages.  On  November  30th, 
15 1 5,  Leo  X.,  on  his  way  to  meet  Francis  I.  at 

1  Cf.  p.  iSS,post. 

2  Archivio  di  Stato  in  Mantova.  1518,  3  Maggio.  Schuchhardt 
{Op.  cit.)  points  out  that  Bazzi's  reference  in  this  letter  to  a  Lucretia 
seems  to  suggest  that  such  a  painting  had  been  executed  at  a  period 
already  sometime  past.  Vasari's  statement  that  it  was  made  with  the 
specific  object  of  ingratiating  himself  with  Leo  X.  may  after  all  the 
taken  with  some  reserve ;  especially  seeing  how  bitter  is  the  tone  of 
the  seritences  in  which  he  conveys  this  piece  of  information, 


152  MIDDLE    PERIOD 

Bologna,  paid  his  first  visit  to  Florence  as  Supreme 
Pontiff;  and  remained  there  (several  periods  of 
absence  intervening)  until  February  17th,  1516.  It 
should  be  borne  in  mind  that  His  Holiness  stood 
on  terms  of  more  than  ordinary  friendship  with 
Agostino  Chigi ;  and  he  had  no  doubt  both  seen  and 
admired  the  work  of  Bazzi  at  the  Farnesina.  Our 
artist  may  even  have  been  presented  to  him  there, 
and  perhaps  to  Giuliano  de'  Medici  also.  Thus 
Chigi  can  truly  be  said  to  have  introduced  the 
painter  to  the  Pope.  Bazzi  himself,  in  a  letter  to 
Alfonso  d'Este,  Duke  of  Ferrara,  of  the  same  date^ 
as  the  above  epistle  to  Gonzaga,  says,  "when  I 
was  with  His  Holiness,  Pope  Leo  in  Florence"  ;  a 
remark  which  from  the  context  would  lead  us  to 
infer  that  he  was  attached  in  some  capacity  to  the 
Papal  train.  Giuliano,  desiring  to  do  honour  to 
his  brother,  and  being  aware  doubtless  of  his 
appreciation  of  the  Farnesina  frescoes,  may  have 
secured  this  Lficretia,  either  as  a  present  from 
himself  or  as  a  direct  commission  from  the  Pope. 
We  know,  at  any  rate,  from  the  painters  own 
letter,  that  Giuliano  did  annex  a  painting  of  this 
subject ;  and  since  the  first  official  allusion  to  the 
Cavalier  s  title  occurs  soon  after  the  conclusion  of 
the  Papal  visit  to  Florence,  indirect  testimony 
would  favour  our  contention  that  Florence  first, 
and  not  Rome,  saw  Bazzi  knighted  ;  and  that  the 
Lucretia  of  the  letter  and  the  Lucretia  recorded 
by  Vasari  were  really  one  and  the  same. 

Another  point,  which  would  seem  to  lend  weight 
to  the  foregoing  argument,  is  the  Poem  by  Eurialo 

^  Archivio  Estense  (di  Stato)  in  Modena.     15 18,  3  Maggio, 


EURIALO    MORANI    D'ASCOLI        153 

Morani  d'Ascoli,  to  which  reference  has  been  made 
in  Chapter  I.  The  collection  of  Epigrams,^  which 
includes  this  poem,  was  printed  in  Siena  in  the 
February  of  this  selfsame  twelvemonth,  and  the 
subject  of  the  verses  is  a  painting  of  Lucretia  by 
Bazzi.^  The  coincidence  in  date  of  the  events  (viz., 
the  painting  of  the  picture,  the  grant  of  the  title,  and 
the  publication  of  the  poem)  seems  too  remarkable 
to  be  altogether  fortuitous  ;  and  renders  a  direct 
connexion  between  them  more  than  a  mere  con- 
tingency. The  poet  Eurialo  Morani,  a  native  of 
Ascoli  Piceno,  was,  according  to  various  authorities,^ 

^  Euriali  Morani  Asculani,  Op.  cit.     Cf.  p.  22,  ante. 

^  It  is  worth  noting  here,  perhaps,  that  Leo  X.  himself,  when  cardinal, 
had  written  a  set  of  Latin  Iambics  upon  an  antique  statue  of  Lucretia^ 
then  recently  found  in  Rome.  (See  Roscoe's  Life  of  Leo  X.,  vol.  ii., 
Appendix,  p.  430.) 

'  From  Mazzuchelli  {Gli  Scrittori dVtalia,  cioh Notizie  Storiche  e  critiche 
intorno  a  lie  Vile,  e  agli  Scritti  dei  Letterati  Ltaliani  del  Conte  Giammaria 
Mazzuchelli  Bresciano.  Brescia:  Gianbatista  Bossini,  1753,  vol.  i.  part  ii. 
p.  1157)  we  gather  concerning  this  personage  as  follows: — Ascoli 
(Eurialo  d'),  a  well-known  poet  of  the  sixteenth  century,  is  mentioned 
by  Crescimbeni  {Storia  della  Volgare  Foesia,  vol.  v.  p.  92)  in  the 
following  terms  : — "  This  rhymester  was  of  the  very  noble  family,  now 
extinct,  of  Morani  of  Ascoli,  Lords  of  Castella.  He  flourished  in  high 
repute  at  the  time  of  Leo  X.,  who  held  him  in  great  favour;  and  was 
also  on  the  best  of  terms  with  the  principal  literary  personages  of  the 
century  :  especially  with  Caro,  Tolomei  and  Molza.  He  composed  works 
in  Greek,  Latin  and  Tuscan ;  but  his  rhymes  are  rarely  to  be  met  with. 
In  particular  some  of  his  poems  are  included  in  the  second  part  of  the 
Stanze  Diversi,  published  by  Giolito  in  1563.  He  was  living  also  at 
the  time  of  the  taking  of  Algiers  by  Charles  V. ;  on  which  occasion  he 
composed  a  poem,  which  he  recited  by  heart  before  the  Emperor 
himself,  who  gave  him  a  collar  of  gold,  as  appears  in  the  Ateneo  Ascolano, 
compiled  by  the  Jesuit  Father  Paolo  Antonio  Appiani,  from  which  work 
(unpublished  at  the  death  of  the  author)  we  have  taken  these  notices. 
We  have  also  seen  a  Latin  epigram  by  him  annexed  to  the  translation  of 
the  Dialogo  del  Segreto  of  I'etrarch,  printed  by  the  Sienese  Francesco 
Otlandino,  in  1517,  wherein  he  describes  himself  with  his  name,  surname 
and  place  of  birth,— /.^.,  Eurialo  Morani  Ascolani^  To  these  notices 
from  Crescimbeni,   Mazzuchelli  adds  the  following  salutation  from  9, 


154  MIDDLE    PERIOD 

a  very  lively  personage,  whose  songs  and  impro- 
visations are  mentioned  with  complacency  by 
Benvenuto  Cellini^  in  1524.  He  was  a  friend  of 
Pietro  Aretino,  and  in  all  probability  also  one  of 
the  boon  companions,  who  flocked  to  the  Papal 
Court  in  15 14,  and  gathered  round  Chigi's  hos- 
pitable board.     His  allusion  to  a  Lttcrezia  at  this 

letter  by  Pietro  Aretino  to  a  certain  Coriolano :  "  Basciatemi  Aurialo 
(TAscoli  nostra  fratello,  e  giocondo  spirito  della  piacevolezza  "  {Lettere  del 
Aretino,  vol.  ii.  p.  300,  Paris  edition).  In  another  letter  (vol.  vi.  p.  75) 
Aretino  says  that  there  are  between  himself  and  Eurialo  two  bodies  with 
but  one  soul.  It  is  probably  this  same  personage,  whom,  under  the 
name  of  Aurialo  Orfeo,  Pietro  incites  to  sing  the  praises  of  the  Queen 
of  France  in  his  Ternali,  referred  to  in  the  same  volume  of  his  Letters 
as  follows : — 

''*'  II possente  suo  plettro,  Aurialo  Orfeo 

Dedica  alP  alia  Donna  :  poiche  aggiungi 

con  esso  ai  merti  d'  ogni  Setnideo." 
MazzucheUi  adds  further  that  Eurialo  wrote  besides,  Stanze  sopra  le 
statue  di  Lacoonte,  di  Venere,  e  di  Apollo  (Roma,  Valerio  Dorico  e  Luigi, 
Fratelli  Bresciani,  1539).  Others  are  also  to  be  found  on  page  398  of 
the  second  part  of  the  Stanze  di  diversi  autori^  collected  by  Antonio 
Termino  (Venezia :  Gabriel  Giolito  de'  Ferrari,  1572).  Eighty-three 
Stanze  sopra  P  Impresa  de  I'Aquila,  and  thirty-nine  to  Invittissinw 
Carlo  V.  seinpre  Augusto,  are  in  a  MS.  by  the  celebrated  Apostolo  Zeno 
{Memor.  MSS.  de*  Poeti  Italiani,  torn,  i.),  upon  which  appears  the 
following  inscription  :  "  Questo  libricciuolo  e  certamente  lo  stesso  che  dal 
Poeta  fu  presentata  a  Carlo  V.  la  cui  Impresa  col  motto  Plus  Ultra  e  la 
cui  Aquila  Imperiale  si  vede  disegnata  nella  coperta  al  difuori  ortiata  dt 
rabeschia  oro."  Furthermore  a  diverting  letter  full  of  rhyming  quotations 
in  Latin  addressed  to  Cardinal  Sant'Angelo  is  printed  by  Turchi,  Lettere 
Facete  e  piacevoli,  etc.  Finally  Anton  Francesco  Doni  {La  Libreria. 
Venezia:  Gabriele  Giolito  de  Ferrari,  1558,  tratt.  i.  p.  42;  tratt.  ii.  p.  210) 
records  the  existence  of  other  works,  among  them  sixty-five  stanze 
entitled  Vita  Disperata,  dedicated  by  the  poet  to  himself,  and  published 
in  Venice  by  Bernardino  Bindoni,  1542,  with  a  poem  on  the  death  of 
Ariosto  attached  to  it ;  and  a  Dialogo  di  Tantalo  e  di  un  Poeta,  which 
seems  to  have  remained  in  MS.  Tiraboschi  {Op.  cit.)  mentions  having 
seen  in  the  Library  at  Milan  a  volume  of  Stanze  di  varii  soggetti  by  this 
poet,  printed  in  Rome  by  Dorico  in  1536. 

^   Vita    di  Benvenuto   Cellini  (Ediz.    Francesco   Tassi).      Firenze  ; 
Guglielmo  Piatti,  1829,  vol.  i.  p.  131,  note  ?. 


MATTEO    BALDUCCI  155 

moment  is  important;  since  the  dates  given  above 
would  support  the  presumption  that  such  a  picture 
was  already  painted :  and  perhaps  had  even  started 
on  its  way  to  Mantua  when  it  was  impounded  by 
the  Medici.  Undue  weight  has  been  given,  as  we 
have  already  pointed  out,  to  the  last  four  lines  of 
this  poem  ;  and  the  suppression  of  the  context 
deprives  us  of  a  valuable  aid  in  identifying  the 
picture  itself.^ 

The  year  15 15  saw  our  artist,  under  power- 
ful patronage,  entering  his  horses  to  race  in 
Florence,  and  at  the  same  time  accepting  com- 
missions from  the  Opera  del  Duomo  in  Siena. 
But  the  next  event  in  his  career,  documentarily 
recorded,  is  one  to  which  we  have  already  alluded 
briefly:  to  wit,  that  on  January  nth,  1516-17,^ 
Lorenzo  di  Giuliano  di  Lorenzo  di  Balduccio  of 
Cast  el  delta  Pieve,  a  master  carpenter,  acting  as 
guardian  to  his  younger  brother,  Matteo,  appren- 
ticed the  latter  to  Messer  Giovanni  Antonio  da 
Verz^,  dipintore  et  cavaliere  habit  ante  nella  Citta 
di  Siena  for  six  years,  dating  from  the  previous 
Feast  of  S.  Mary  of  August  (the  A ssttmptiofi). 
This  document  may  profitably  be  confronted  with 
the   deed   dealing  with    Bazzi's   own   articles   to 

^  Cf.  post^  P  165. 

^  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Alessandro  di  ber 
Francesco  Martini.  15 16-17,  n  di  Gennaio.  {Mil.  Doc,  vol.  iii.  p.  72, 
No.  33.) 

According  to  the  present  filing  of  the  papers  in  these  Archives,  this 
document  is  to  be  found  under  the  head  of  UMANI,  Ser  Alessandro 
di  Ser  Francesco  d'  Antonio  di  Lucignano  in  Val  di  Chiana.  The  search 
for  it  entailed  much  trouble,  because  the  files  of  Ser  Alessandro  di  Ser 
Francesco  Marti?ti  do  not  commence  until  i^J^Q-  This  document  is  of 
special  interest  since  it  is  ih^Jirst  official  record  wherein  Bazzi  is  styled 
Cavaliere. 


156  MIDDLE    PERIOD 

Martino  Spanzotto.^  The  details  are,  however, 
briefer  and  less  elaborate.  A  noteworthy  point  is 
a  clause  inserted  to  explain  the  elder  Balducci's 
inability  to  write,  and  setting  forth  the  position 
of  his  proxy. 

Controversy  has  been  rife  over  the  identity  of 
this  Matteo ;  and  it  seems  tolerably  clear  that  two 
individuals — perhaps  relations — must  have  borne 
the  name  in  question.  Comm.  Corrado  Ricci^ 
states  that  Matteo  Balducci  was  a  pupil  of  Pintu- 
ricchio,  and  was  subsequently  transferred  to  Bazzi's 
''  bottega'  on  the  death  of  the  older  master.  We 
are,  however,  met  with  the  impossibility  of  recon- 
ciling this  statement  with  authenticated  dates. 
We  learn  that  Matheo  Balducci  de  Ospitale 
Frontignani  comitates  perusini  was  one  of  the 
witnesses  to  an  instrument  executed  on  January 
17th,  1509,^  in  Pinturicchio's  house.  From  his 
presence  on  that  occasion  Ricci  argues  membership 
in  statu  pupillari  of  the  Betti  household.  Surely 
such  a  proposition  is  somewhat  far-fetched  ?  It  is 
not  easy  to  understand  how  a  youth,  who, — even 
if  we  extend  the  term  of  minority  to  the  extreme 
limit  of  twenty-five  years, — was  still  under  age 

^  Cf.  p.  32,  ante. 

2  Corrado  Ricci,  Pintoricchio :  His  Life,  Work,  and  Time.  (Trans, 
by  Florence  Simmonds.)     London  :  Heinemann,  1902,  p.  52. 

'  Archivio  di  Stato  di  Siena.  Rogiti  di  Ser  Ansano  Pallagrossa. 
1508  (st.  sen.),  17  Gennaio. 

^^Anno  Domini  1308,  Indictione  XII.  Die  xvij  Januarij.  Omnibus  et 
singulis  evidenter  appareat  qualiter  Magister  Bernardinus  Benedicti  de 
Perusio  pidor,  alias  el  Pentoricchio  fecit  suum  procuratorem  Cellerinum 
causidicum  de  Senis  ad  lites  et  causas,  ad  agendum  in  qualibet  Curia,  etc. 
Actum  in  dome  dicti  magistri  Bernardini,  presentibus  Francisco  Thome  et 
Matheo  Balducci  de  Ospitale  Frontignani  Coniitatus  perusini.  Cf.  Nnovi 
Documenti  cit.,  ^.  ^()i." 


MATTEO    BALDUCCI  157 

in  January  1517,  could  have  been  a  legal  witness 
eight  years  before.  Had  Matteo  been  of  full  age 
when  his  Articles  of  Apprenticeship  were  entered 
into,  need  his  brother  have  acted  in  loco  parentis 
for  him  ?  Moreover  several  years  of  his  minority 
presumably  had  yet  to  run,  or  he  would  scarcely 
have  been  bound  for  six  years.  In  fact,  the  terms 
of  the  document  clearly  point  to  the  conclusion 
that  the  ''  gar  zone''  in  question  was  a  yonng  lad 
commencing  his  career.  Finally,  since  Pinturicchio 
died  in  15 13,  why  should  a  pupil  of  his  have  waited 
nearly  four  years  before  entering  fresh  employment? 
An  even  stronger  argument  against  the  identity  of 
these  two  individuals  is  to  be  found  in  the  pictures 
generally  attributed  to  *'  Matteo  Balduccir  The 
only  documentarily  recorded  work  by  this  painter 
has  disappeared.^  This  w^as  an  altarpiece  repre- 
senting the  Saviour  with  SS.  Thomas,  Anthony 
of  Padua,  James,  and  Bartholomew,  for  the  Church 
of  S.  Bartolommeo  at  Piancastagnaio.  Tradition 
nevertheless  has  always  ascribed  to  him  the 
pleasing  painting  of  the  A sstimption  over  the  first 
altar  (Borghese  Chapel)  on  the  north  side  of  the 
church  of  S.  Spirito  in  Siena ;  and  upon  the  style 
of  this  picture  critics  have  based  other  attribu- 
tions. The  mannerisms  are  so  clearly  marked, 
and  so  obviously  derived  from  Pinturicchio's 
methods,  as  to  suggest,  without  fear  of  disproof, 
that  the  painter, — whoever  he  was, — must  have 
been  one  of  that  master's  disciples.      It  is  not 

^  Mil.  Doc,  vol.  iii.  p.  73.  Michelangelo  Gualandi,  Memorie  Originale 
di  Belle  Arti,  serie  seconda,  p.  17.  Bologna,  1841.  Allogazione  al  3 
Agosto,  1523. 


158  -MIDDLE  PERIOD 

conceivable  that  a  painter,  whose  style,  like  that  of 
the  S.  Spirito  artist,  had  matured  so  completely, — 
aping,  almost  aggressively  in  fact,  that  of  Pintu- 
ricchio, — should  have  required  the  training  of  a 
totally  different  teacher ;  or  that,  having  received 
such  training  as  Bazzi's,  he  would  not  have  shown 
signs  of  it  in  subsequent  works. 

Whether  Matteo,  the  youth,  left  any  separate 
trace  behind  him  as  an  artist  we  do  not  know. 
That  he  did  not  complete  his  term  seems  evident, 
since  the  gap  in  Bazzi's  career  from  15 19  to  1525 
— to  which  we  shall  presently  allude — coincides 
with  most  of  the  period  in  question.  He  probably, 
however,  assisted  his  master  in  the  work  for  the 
Compagnia  di  S.  Bernardino,  which  we  are  now 
about  to  describe. 

The  chapels  of  this  Confraternity  are  situated 
on  the  Prato  di  S.  Francesco,  beside  the  west  door 
of  that  church.  The  Brotherhood  was  originally 
styled  La  Compagnia  delta  Vergine  Maria  degli 
Angeli,  0  delta  Veste  Neva  ;  and  the  walls  of  the 
upper  chapel,  wherein  our  painter  was  now  to 
labour,  had  been  decorated  by  one  Marco  di  Gio- 
vanni,^ concerning  whom  nothing  is  known  beyond 
an  agreement  wherein — with  the  assistance  of  his 
son  Baldassare  (also  unrecorded  elsewhere) — he 
covenants  to  paint  the  history  of  Joseph  for  the 
sum  oi grossi  (ducati? )  died.    In  his  note  on  this 

^  Archivio  detto.  Pergainene  dei  Luoghi  Pit  e  dei  pubblici  Stabli- 
menti,  No.  351.  1485,  10  di  Novembre.  ^^  Maestro  Marco  di  Giovanni, 
dipintore,  toglie  a  dipingere  nella  Compagnia  della  Vergine  Maria  delle 
Veste  Nera  la  storia  di  Giuseppe!^     Mil  Doc,  vol.  ii.  p.  412. 

The  work  is  described  as  "  di  biancheggiato " ;  perhaps  a  species  of 
grisaille. 


THE  ORATORY  OF  S.  BERNARDINO  159 

document,  Milanesi  informs  us  that  these  designs 
were  removed  in  or  about  the  year  15 10  to  make 
room  for  the  work  of  Bazzi,  Beccafumi,  and 
Pacchia.  However  this  may  be,  these  artists  do  not 
appear  to  have  entered  upon  their  task  there  until 
some  eight  years  afterwards  ;  and  in  the  case  of 
Bazzi  theundertakingwas  not  completed  until  1532. 

The  accounts  setting  forth  the  sums  expended  by 
the  Confraternity  will  be  found  printed  in  full  in  the 
Appendix  ;^  but  it  should  be  observed  that  in  the 
Record  Book  the  entries  appear  in  duplicate :  first 
in  a  separate  account  with  each  painter,  and  after- 
wards in  a  comprehensive  memorandum  embracing 
the  whole  work.  All  these  (except  the  last  pay- 
ment to  Bazzi  in  1532)  are  entered  in  the  same 
handwriting ;  and  it  is  only  once,  in  the  separate 
items  for  his  earlier  work, — and  there  alone, — that 
the  much  discussed  expression,  ''Miss.  Giovann- 
antonio  de  Tizoni  detto  ilSodoma  pit  tore  da  Verze',' 
occurs.  As  we  have  already  had  occasion  to  re- 
mark, he  is  also  here  described  but  oncediS  ''Cava- 
liere','  and  then  only  in  one  of  the  copies  of  the  very 
latest  entry. 

The  frescoes  painted  by  our  artist  for  the  Confra- 
ternity at  this  date  are  six  in  number,  and  of  greatly 
varying  excellence.  The  first  two,  the  Presentation 
of  the  Virgin  in  the  Temple  and  the  Visitation^ 

^  Cf.  Appendix  No.  15.  It  cannot  be  too  emphatically  repeated — since 
so  many  writers  have  gone  astray  on  the  point — that  the  figure  of 
S.  Bernardino,  the  Patron  of  the  Society,  is  not  by  Bazzi,  but  by  Pacchia, 
who  received  8  lire  56  soldi  for  his  work. 

^  It  is  curious  to  note  that  all  record  of  this  work  is  omitted  from 
the  accounts.  Its  companion  subject,  the  Assumption,  was  the  particular 
work  left  unpainted  until  1532. 


i6o  MIDDLE   PERIOD 

are  awkwardly  composed  and  generally  unpleasing; 
although  both  scenes,  the  first-named  especially, 
contain  several  charming  single  figures  and  heads. 
The  grouping  and  architecture  of  the  Presentation 
recall  the  Monte  Oliveto  Cycle  ;  but  both  this  work 
and  the  Visitation  suggest  hasty  inception  and 
neglect  to  formulate  any  definite  scheme,  prior  to 
the  actual  representation  of  the  sacred  subjects. 
Forms  and  heads  are  inserted  behind  the  principal 
groups,  apparently  without  definite  purpose  or 
meaning,  except  to  fill  empty  spaces ;  whilst  the 
proportions  of  the  figures  in  the  foreground  are 
out  of  keeping  with  those  in  the  middle  distance.^ 
The  third  great  fresco,  the  Coronation,  however,  is 
a  far  finer  work,  composed  as  though  the  painter 
had  this  time  really  endeavoured  to  overcome  his 
besetting  sin  ;  albeit  the  rearward  groups  are  still 
somewhat  crowded  and  imperfectly  characterized. 
The  exquisite  figure  of  the  kneeling  Virgin  shows 
what  Bazzi  could  do ;  and  her  refined  loveliness 
stands  forth  in  sharp  contrast  to  the  prevailing 
absence  of  spirituality.  But  the  effigy  of  God 
the  Father  lacks  distinction,  and  is  conceived  in  a 
Pagan  rather  than  a  Christian  spirit ;  a  defect  shared 
likewise  by  several  of  the  other  personages.  The 
fine  modelling  of  the  nude  figures  suggests  pains- 
taking and  enthusiastic  study  from  the  antique ; 
but  the  bank  of  clouds  is  woolly  and  sodden ;  whilst 

^  Among  the  drawings  at  Wilton  House  (collection  of  the  Earl  of 
Pembroke) — published  by  the  late  Mr.  S.  Arthur  Strong — is  a  sketch 
for  one  of  the  groups  in  the  Presentation.  It  is  somewhat  doubtful, 
however,  whether  the  sketch  is  a  genuine  one  by  the  master  himself, 
and  not  a  later  copy.  Another  drawing,  apparently  for  this  same  work, 
is  to  be  found  in  the  Louvre  portfolios  (No.  88,  Reiset's  Catalogue). 


THE    ORATORY   OF    S.   BERNARDINO  i6i 

the  playful  cherubs,  cleaving  their  way  upward 
through  them,  seem  to  emerge  from  a  solid  mass 
resembling  nothing  so  much  as  a  feather-bed. 

The  three  saints :  Louis  of  Toulouse,  Francis 
of  Assisi  and  Anthony  of  Padua,  possess  in  a 
marked  degree, — especially  the  two  former, — 
that  gentle  grace  and  spiritual  impressiveness  so 
characteristic  of  Bazzi's  single  figures. 

The  prices  paid  by  the  Confraternity  for  each  of 
these  works  may,  since  it  varies  very  considerably, 
be  an  indication  of  the  relative  care  and  industry 
bestowed  upon  their  composition.  Comparing 
Bazzi  in  this  instance  with  his  competitors,  not 
only  are  we  struck  by  the  wide  distance  that 
separates  them  through  the  superiority  and  origin- 
ality of  his  genius,  but  we  cannot  fail  also  to 
perceive  how  strong  was  his  influence  over  them. 
Even  Vasari,^  speaking  of  Beccafumi,  owns  some- 
what grudgingly  that  the  fame  of  Bazzi's  drawing, 
and  the  desire  to  profit  by  his  example,  were  the 
incentives  which  brought  that  clever  draughtsman 
(though  mediocre  artist)  back  to  Siena.  Pacchia 
openly  accepted  Bazzi's  methods  ;  and  frequently 
attained  such  success  in  consequence,  that  to  dis- 
tinguish between  his  work  and  that  of  his  greater 
rival  is  a  question  provocative  of  much  controversy. 

One  curious  and  hitherto  overlooked  point  in 
connection  with  the  S.  Bernardino  accounts  now 
compels  our  attention  :  namely,  the  circumstance 
that  they  are  stated  to  have  been  made  up — and 

^  Vasari,  Op.  cit.,  vol.  v.  pp.  635  and  649.  Speaking  of  Beccafumi's 
work,  the  biographer  by  mistake  attributes  to  his  favourite  Bazzi's 
Visitation,  instead  of  the  Marriage  of  the  Virgin. 

II 


i62  MIDDLE    PERIOD 

were  presumably  paid — addl  ultimo  di  Dicembre 
I^i8.  Now,  if  this  were  the  case,  Bazzi  must  have 
remained  in  Siena  ttntil  the  beginning  of  iSig, 
and  did  not  carry  out  in  the  summer  of  i^i8  the 
intention  expressed  in  his  letters  of  May  3rd. 
There  seems  no  valid  reason  for  the  suggestion 
that  he  had  either  completed  his  work  earlier  in  that 
year,  or  had  been  paid  in  advance ;  or,  again,  that 
the  money  was  either  sent  after  him,  or  reserved 
until  his  reappearance  in  Siena  in  1525.  The  death 
of  Francesco  Gonzaga  on  March  29th,  15 19,  which 
plunged  both  the  princely  houses  of  Gonzaga  and 
Este  into  mourning,  may  also  account  for  the 
absence  of  any  further  correspondence  between 
the  painter  and  his  noble  patrons.  It  is  worthy  of 
note,  however,  that  in  the  voluminous  correspond- 
ence still  existing  of  Francesco's  brilliant  and 
talented  consort,  Isabella  d' Este,  regarding  pictures 
and  other  works  of  art — either  with  her  agents  or 
with  the  artists  themselves — no  allusion  to  Bazzi 
ever  occurs :  nor,  beyond  these  two  letters  to  her 
husband  and  brother,  is  there  any  trace  of  further 
communication  with  our  artist.  It  is  possible, 
perhaps  even  more,  probable,  that  the  misfortunes 
by  fire  and  otherwise,^  which  have  overtaken  the 
Mantuan  and  Ferrarese  Archives,  are  responsible 
for  the  total  disappearance  of  valuable  documents, 
which  might  have  thrown  light  upon  this  obscure 
period  of  our  painter's  history. 

On  May  3rd,  15 18,  the  painter  wrote  the  two 
following  letters  :  to  the  Marquis  of  Mantua  and 
the  Duke  of  Ferrara  respectively  : — 

1  The  letter  to  Alfonso  d'Este  quoted  here  has  been  badly  burnt. 


BAZZrS    LETTERS  163 

To  THE  Most  Illustrious  Lord  Francesco  deGonzaga, 

Marquis.^ 
To  Mantua  to  his  Most  Honourable  Lord — to  Mantua. 

Most  illustrious  Lord,  the  Lord  most  honoured  by  me, 
Health. — Some  days  ago,  when  passing  through  Siena,  on 
his  way  to  Rome,  Signor  Aloysius,  the  brother  and  rela- 
tive of  Your  most  Illustrious  Lordship,  deigning  to  come 
to  my  room,  and  going  through  the  garden  at  his  leisure,  I 
told  him  that  I  had  a  wish  that  you  should  have  something 
of  my  work  as  a  memorial  of  my  duty.  He  told  me  that 
to  make  a  picture  of  the  Madonna  with  her  Infant  and 
S.  Francis  would  be  most  agreeable  to  you.  I  would  much 
prefer  to  know  if  you  have  any  other  desire,  and  in  such 
case,  God  willing,  I  will  come  and  visit  your  Illustrious 
Lordship,  and  bring  with  me  the  said  picture.  I  had  made 
a  Lucretia  for  Your  Illustrious  Lordship,  but  on  my  way 
to  present  it,  it  was  seen  in  Florence  by  his  Magnificence 
Giuliano,  and  I  was  compelled  to  leave  it  with  him.  I 
pray  Your  111.  Lordship  will  certainly  deign  a  very  small 
reply  to  let  me  know  His  wishes,  and  I  am  always  ready 
to  please  Him,  to  whom  may  God  give  happiness  for  a 
long  period. 

E.D.V.S., 
2,rd  May,  1518.         lo  Antonius  Sodona  (.tzV), 

Knight  of  Siena  {Eques  Senis). 
To  Ferrara. 

To  THE  MOST   Illustrious  Lord,  Lord  Alfonso 
d'Este,  Duke,  his  Most  Honourable  Lord. 

Most  illustrious  Lord,  Lord  by  me  most  honoured  by 
humble  commendation.  Health. — This  is  to  inform  you 
that  some  time  since,  when   I   was  with  His  Holiness 

^  Nuovi  Documenti,  p.  412,  No.  209.  It  is  as  well  to  observe  that 
the  heading  of  this  document  as  printed  here, — contradicting  the  letter 
itself, — runs  as  follows  :  "  Lettera  di  Gio.  Anton.  Bazzi  detto  il  Sodoma 
a  Francesco  Gonzaga  Duca  di  Mantova  con  la  quale  offre  al  Duca.  .  .  ." 
For  the  originals  of  both  these  letters  of.  Appendix  Nos.  16  and  i6a. 


i64  MIDDLE    PERIOD 

Pope  Leo  in  Florence,  your  ambassador  gave  me  a  com- 
mission for  your  Lordship  to  make  a  S.  George  on  horse- 
back killing  the  dragon  {viperd),  which  I  now  have  finished, 
and  hold  in  readiness  for  your  Lordship.  A  few  days 
ago,  not  far  from  Siena,  by  chance,  I  met  the  Ferrarese 
messenger  della  Colonna,  your  servant,  and  I  told  him 
that  the  said  picture  was  altogether  at  the  service  of  your 
lordship.  And  he  promised  to  inform  your  most  Illust. 
Lordship. 

I  hope  in  the  coming  Summer  to  go  to  interview  the 
Marquis  of  Mantua,  for  whom  I  have  made  certain  pic- 
tures, and  peradventure  I  shall  come  as  far  as  to  visit 
your  Illust.  lordship,  and  bring  with  me  the  said  picture. 
I  pray  that  if  your  lordship  wishes  for  anything  else  .  .  . 
by  sending  me  a  very  small  reply,  I  shall  be  most  agreable 
to  do  anything  that  may  be  pleasing  to  your  most  Illust. 
Lordship,  to  whom  I  most  humbly  recommend  myself, 
and  that  God  will  give  you  happiness  for  a  long  time. 

E.D.V.S., 
^rd  May,  1518.  lo  Antonius  Sodona.^ 

Knight  of  Siena. 

In  these  two  letters,  which  corroborate  each  other 
in  several  important  instances,  we  find  mention 
of  three  pictures — namely,  a  Madonna  and  Child 
with  S.  Francis,  a  Lucretia,  and  a  6*.  George.  It  is 
always  a  somewhat  invidious  venture  to  dogmatize 
concerning  the  identity  of  pictures  on  such  slender 
evidence  as  is  afforded  in  this  case ;  but  it  would 
seem  not  unreasonable  to  infer, — both  from  the 
style  of  the  painting  and  other  similar  indications, 

^  Nuovi  Documenti,  p.  421,  No.  212.  The  former  of  the  documents 
was  discovered  by  the  late  Marchese  Giuseppe  Campori,  and  the  latter 
by  Cav.  Adolfo  Venturi,  who  published  it  in  his  La  Reale  Galleria 
Estense.    Modena,  1882. 

It  is  to  be  observed  that  in  both  these  letters  our  artist  calls  himself 

SODONA. 


ST.    GEORGE   AND   THE   DRAGON. 

SIR   FREDEKICK    COOk'S   COLLECTION,    RICHMOND. 


To /ace  p.  165 


-LUCRETIA"  165 

— that  the  wS.  George'^  may  be  sought  to-day  in  the 
collection  of  Sir  Frederic  Cook  at  Doughty  House, 
Richmond.  The  Madonna  and  Child  we  might 
perhaps  also  trace  in  the  picture  belonging  to 
Alexander  Henderson,  Esq.,  M.P.  (Buscot  Park, 
Berks).  And,  lastly,  the  Lticretia  may  be  the  one 
now  in  the  Royal  Gallery  at  Turin.  We  have 
already  stated  our  reasons  for  proposing,  on  his- 
torical grounds,  that  this  work  may  be  identical 
with  the  painting  that  came  into  the  possession  of 
Leo  X. :  but  it  also  seems  to  us  that  the  ntidity  is 
more  obvious  here  than  in  the  Kestner  example, 
which  critics  have  hitherto  fixed  upon  as  the 
Lucretia  thus  recorded  by  Vasari.  Furthermore, 
the  lines — 

Cur  te  non  duro  penetras  Lucretia  ferro 

Quod  tenet  hinc  consors  quod  tenet  m^&  pater, 

from  Eurialo  Morani's  poem  referred  to  above 
(since  they  indicate  the  presence  of  at  least  two 
other  persons  in  the  composition),  certainly  tend 
to  support  our  argument.^ 

^  This  work  is  said  to  have  been  bought  in  Siena  by  the  late  Earl  of 
Shrewsbury.  See  Catalogue  of  Pictures  of  the  Lombardo-Milanese  School 
exhibited  by  the  Burlington  Fine  Arts  Club,  London,  1898,  No.  34.  It 
is  perhaps  worthy  of  note  that  a  canvas  (i  m.  75  cm.  x  i  m.  13  cm.) 
representing  this  same  subject,  and  attributed  to  Jean  Antoine  Razzi 
(sic),  was  sold  from  the  collection  of  Don  Marcello  Massarenti  in  Rome 
in  1877,  Lot  40, 

2  Vasari  {Op.  cit.,  vol.  vi.  p.  396)  describes  another  Lucretia,  painted 
by  Bazzi  for  Assuero  Rettori  da  S.  Martino,  thus  :  *'  Una  tela  che  fece 
per  Assuero  Rettori  da  San  Martino,  nella  quale  e  una  Lucrezia  Romana 
che  si  ferisce,  mentre  h  tenuta  dal  padre  e  dal  marito ;  fatti  con  belle 
attitudini  e  bella  grazia  di  teste."  Here  we  are  told  that  the  father 
and  husband  of  the  unfortunate  heroine  were  also  represented;  and 
that  the  whole  was  remarkable  "  for  the  charming  attitudes  and  the  fine 
grace  of  the  heads."    This  painting  may  perhaps  be  recognised  in  the 


i66  MIDDLE    PERIOD 

As  we  have  seen,  then,  the  evidence  of  the 
S.  Bernardino  accounts  would  suggest  that  Bazzi 
did  not  leave  Siena  until  January  15 19.  From 
that  date  until  1525,  he  disappears  from  our  view. 

Endless  conjectures  have  been  formed  as  to  his 
place  of  residence  and  doings  during  these  six 
years. ^  The  fact  that  at  about  this  period  Michel 
Angelo  Anselmi  reappeared  in  his  native  town  of 
Parma,  would  seem  to  suggest  that  the  master  did 
turn  his  steps  northwards,  and  that  the  disciple 
accompanied  him.  And  from  certain  very  per- 
plexing paintings  still  to  be  found  in  the  Emilian 
cities,  it  would  seem  as  though  they  had  worked 
there  together.  An  example  of  this  possible  colla- 
boration is  to  be  seen  in  the  church  of  S.  Prospero 
at  Reggio  :  ^.  Homobonus  giving  A  bus.  It  is  a 
remarkable  work,  full  of  power,  yet  at  the  same 
time  exhibiting  deficiencies  of  technique,  which  are 
positively  grotesque.  Frizzoni  at  first  attributed  the 
painting  to  Bazzi  himself:  a  belief  which  he  after- 
wards, on  further  reflection,  thought  fit  to  abjure.^ 

panel  now  in  the  collection  of  Herr  Weber  at  Hamburg.  It  is  a  fine 
and  beautiful  work ;  darkened,  however,  by  time  and  restoration.  The 
record  of  yet  one  more  Lucretia  is  documentarily  handed  down  to  us : 
namely,  in  the  Inventory  of  pictures  left  in  our  artist's  studio  at  his 
death  (cf.  Appendix  No.  31).  From  the  fact  that  it  appears  in  connec- 
tion with  a  portrait  of  Pandolfo  Petrucci  (which  would  seem  to  have 
been  stored  away  for  a  long  period),  might  we  not  suggest  that  this 
Lucretia  is  the  one  now  in  the  Kestner  Museum :  ordered  by  the  tyrant 
and  never  delivered?  Further,  we  might  even  propose  that  by  the 
Leda,  which  precedes  it  in  the  list,  is  intended  the  so-called  Charitas, 
in  the  Berlin  Gallery — of  which  we  have  also  made  mention  above. 

^  There  is  in  fact  no  existing  evidence  of  an  actual  visit  to  Ferrara  or 
Mantua  at  all. 

2  Frizzoni,  Op.  cit.,  p.  152,  note.  Venturi  proposes  to  attribute  it  to 
Bernardino  Zacchetti,  an  obscure  Reggian  painter  {L'Arte,  Sept. — Oct. 
1901,  fasc.  ix.,  X.) 


Photo:  Brill kmanjt. 


LUCRETIA. 

KESTNER   MUSEUM,    HANOVER. 


To/ace  p.  i66. 


BAZZl    IN    THE    EMILIA  167 

But  the  fact  that  so  eminent  a  critic  entertained  a 
doubt  regarding  this  work,  shows  the  difficulties 
which  beset  the  student's  path  in  attaining  a  satis- 
factory and  convincing  conclusion.  The  painting 
unquestionably  displays  very  strongly  a  Sodom- 
esque  feeling,  alike  in  composition  and  execution. 
It  is  consequently  not  easy  to  divest  our  minds  of 
the  idea  that  Bazzi  exercised  more  than  a  merely 
directing  influence  over  the  work.  The  figure  of 
the  Saint  himself,  the  landscape  and  the  children 
are  so  reminiscent  of  his  methods,  that  one  may 
fairly  hazard  the  theory  that  the  painting  was  com- 
menced by  him,  even  if  completed  by  Anselmi ; 
by  whom  there  are  at  least  two  more  altarpieces 
in  this  same  church  :  a  fine  figure  of  ^.  Patil,  and 
a  Baptism  of  Christ} 

Much  discussion  has  moreover  arisen  over 
the  discovery  by  the  late  Marchese  G.  Campori  ^ 
of  two  documents  of  even  date  (Nov.  22nd,  15 18), 
wherein  one  ''Joanne  Antonio  de  Baziis  de 
Parma,  Pic  tore,  ad  prcBsens  habit  at  ore  Regii,'' 
figures  as  a  witness.^      Now  if,  as  we  have  en- 

^  In  speaking  of  Anselmi  it  is  also  most  noticeable  how,  in  all  his  early 
works  in  the  Emilia,  the  influence  of  his  first  master  strives  to  exist  side 
by  side  with  the  very  different  methods  of  Correggio,  whose  personality 
eventually  so  entirely  overwhelmed  him.  The  fine  Madonna  and  Saints 
in  the  Communal  Chapel  of  the  Duomo  at  Parma,  and  the  Christ  bearing 
His  Cross  in  the  Church  of  S.  Giovanni  Evangelista  in  the  same  city,  are 
characteristic  examples  of  this  mingling  of  ideals. 

^  G.  Campori,  Catalogo  Storico  degli  Artisti  Italiani  e  Stranieri  negli 
Stati  Estensi.  Modena,  1855,  p.  58.  Cf.  also  Carlo  Milanesi,  Archivio 
Storico  Italiano,  Nuova  Serie,  vol.  ii.  part  i.  p.  159.     Firenze:  Vieusseux, 

1855- 

'  The  attestation  clause  runs  as  follows : — Actum  Regii  in  Ecclesia 
S.  Jacobi  prcedicti,  presentibus  ibidem  Magistro  Joanne  Antonio  de 
Baziis  de  Parma,  Pictore,  ad prcesens  habitatore  Regii  &>  Bonfrancisco 


i68  MIDDLE    PERIOD 

deavoured  to  show,  Bazzi  was  still  living  in  Siena 
on  the  last  day  of  December  1518,  it  is  not  possible 
that  he  and  the  Giovannantonio  de  Baziis  can  be 
one  and  the  same  person.  Again,  in  spite  of  the 
tricks  he  so  often  plays  with  his  name  and  place  of 
residence,  it  seems  difficult  to  believe  that  such  a 
freedom  as  a  false  attestation  of  domicile  would  have 
been  permitted  in  a  document  of  this  nature,  either 
by  the  authorities,  or  by  the  parties  to  the  deeds  : 
apparently  persons  of  some  repute  in  their  dis- 
trict. We  are  not  aware  of  any  motive  that  should 
prompt  him  to  conceal  his  identity ;  and  it  is  scarcely 
conceivable  that,  had  any  deception  been  attempted, 
countenance  would  have  been  given  to  so  puerile 
a  falsehood.  De  Basis,  de  Baziis,  or  Bazzi^  are, 
after  all,  not  such  very  uncommon  names,  and  a 
far  more  logical  and  likely  hypothesis  would  sug- 
gest the  existence  of  two  painters — both  Giovanni 
Antonio  by  name — rather  than  to  force  them,  in 
defiance  of  perplexing  dates,  into  one  entity. 

Although  Marchese  Campori's  discoveries  do 
not  point  conclusively  to  Bazzi's  residence  in 
Parma,  it  is  more  than  reasonable  to  suppose  that 

quondam de  Pachionibus,  Give  Regii,  Testibus,  etc.     Copied  from 

the  Compendio  delle  Discendenze  de'  Fratelli  Giovanni,  Bonifazio  e  Farigio 
de'  Taccoli,  ecc.     Vedrotti,  Reggio,  1741,  p.  77. 

^  Campori  himself,  quoting  Pezzana  {Storia  di  Parma,  tom.  iii., 
Appendix,  p.  5)  in  note  3,  on  the  page  above  mentioned,  records  a 
certain  Christoferus  de  Baziis  (Baxijs  in  the  Text,  Bazi  in  the  Index), 
who  was  among  the  Parmesan  citizens  who  swore  fealty  to  Francesco 
Sforza  on  March  7th,  1449  ;  thus  showing  that  the  name  was  not  unknown 
there.  Malaspina  {Nuova  Guida  di  Parma,  1869),  in  his  Indice  Alfabetico 
di  tutti  gli  artisti  Parmensi,  speaks  of  a  painter  named  Giovanni  Bazi, 
who  lived  from  1494  to  1533.  The  family  of  Bazzi's  own  pupil,  Lorenzo 
Brazzi  (il  Rustico)  were  of  those  parts.  See  p.  241  post.  Cf.  also 
Meyer,  Op.  cit. 


BAZZI    IN    LOMBARDY  169 

during  those  years  our  artist  did  travel  in  Northern 
Italy,  and  sojourned  there  once  more.  Whether 
he  revisited  his  early  home  or  relatives  we  are 
at  a  loss  to  say,  and  such  vague  indications  as 
may  be  obtained,  tend  rather  to  a  negative  con- 
clusion ;  but  a  number  of  works  by  him,  still 
extant, — most  of  which  have  been  discovered  in 
churches  and  palaces  in  Lombardy  and  Piedmont, 
— would  seem  to  point  to  a  renewal  of  early  im- 
pressions, matured  and  broadened.  It  is  hardly 
necessary  to  repeat  that  paintings  on  panel  and 
canvas  may  be  moved  about ;  but  it  seems  un- 
likely on  the  face  of  it  that  all  the  pictures  assigned 
with  good  reason  to  this  period  could  have  been 
carried  in  a  finished  state  from  Tuscany  to  the 
North.  They  possess,  moreover,  a  marked  style  of 
their  own,  differing  entirely  both  from  the  earlier 
and  later  Sienese  work  ;  and  are  more  reminiscent 
of  his  great  leader,  Leonardo,  into  the  society  of 
whose  pupils  and  followers  he  would  have  been 
once  more  thrown. 

Morelli  and  his  school  would  assign  to  him,  and 
place  within  this  period  of  artistic  activity,  the 
great  fresco  of  the  Madonna  and  Child  (Madon- 
none)  in  the  Villa  Melzi  at  Vaprio  d'  Adda.  So 
far,  however,  we  cannot  follow  them.  The  fresco 
is  a  very  fine  work  ;  but  although  it  can  hardly  be 
attributed  to  Leonardo  himself,^  the  composition 
lacks  the  sweetness  and  tender  grace  of  Bazzi.  We 
are  tempted  rather  to  assign  the  painting  to  that 
talented,  but  as  yet  not  fully  understood,  dilettante, 

^  Cf,  Edward  McCurdy,  Leonardo  da  Vinci.     (Great  Masters  Series.) 
George  Bell  &  Sons,  London,  1904. 


I70  MIDDLE    PERIOD 

Francesco  Melzi,  who  is  much  more  likely  to  have 
thus  closely  copied  his  friend's  style  for  the  adorn- 
ment of  his  family  villa.  To  bring  Bazzi  thither 
appears  not  unlike  forcing  probabilities. 

The  most  noticeable  work  of  this  period,  how- 
ever, is  the  exquisite  Madonna  and  Child  ( ?)  be- 
longing to  the  Ginoulhiac  family.  A  strangely 
beautiful  production,  it  stands  so  much  apart 
among  the  paintings  of  the  master,  that  doubts 
have  been  cast  upon  its  authenticity.  But  if  we 
endeavour  to  comprehend  the  obvious  circum- 
stance, that  the  Mother  and  Child  are  likenesses, 
and  are  intended  to  be  viewed  as  such,  we  are 
able  to  perceive  the  subtle  and  lifelike  charm  that 
pervades  the  composition.  The  picture,  more- 
over, bears  a  strong  resemblance^  to  the  famous 
Frankfurt  portrait  to  which  we  have  alluded  earlier 
in  these  pages  ;  and  abundantly  proves  our  artist's 
claim  to  rank  as  a  most  able  painter  of  portraits. 

^  The  following  pictures  bear  also  a  close  affinity  to  this  work : — A 
Madonna  and  Child  (No.  60)  in  the  Morelli  Gallery  at  Bergamo,  and 
another  representation  of  the  same  subject  in  the  Palazzo  Bianco  at 
Genoa.  The  long  slim  hand  and  the  sleeve  with  the  frill  at  the  wrist 
are  favourite  characteristics  of  Bazzi  in  these  and  several  other  paintings 
of  this  period. 


Photo:  Marcozzi. 


MADONNA   AND   CHILD. 

GINOULHIAC   COLLECTION,    MILAN, 


To  face  J>.  170. 


CHAPTER  VIII 

FAME   AND   FORTUNE 

The  year  1525  witnessed  Bazzi's  return  to  Siena 
once  more. 

And  now  commences  that  extensive  series  of 
paintings  for  the  several  churches  and  public 
buildings,  through  which  he  is  best  known  to 
fame.  Scant  information  is  available  concerning 
his  private  life  ;  but  such  indications  as  have  come 
down  to  us  point  to  his  having  occupied — in  spite 
of  differences  with  his  employers  over  work  done 
or  left  undone — a  position  in  the  city  of  his  adop- 
tion, of  considerable  honour  and  respect. 

A  wave  of  unrest  had  swept  over  Siena ;  and 
our  artist  returned  thither  at  the  moment  when  the 
NovE  and  the  Libertini^  were  at  the  height  of 
their  intestine  struggles.  Civic  discord  did  not, 
however,  act  as  a  check  to  artistic  commissions. 

Milanesi^  states  that  the  painted  bier  mentioned 
by  Vasari  for  the  Compagnia  della  SS.  Trinity 
was  commenced  in  this  year  ;  but  from  certain 
memoranda  among  his  MS.^  it  would  seem  that 

^  Langton  Douglas,  Op.  cit.,  p.  216  ^  seg. 

^  Vasari,  Op.  cit.,  p.  393,  note  3. 

2  Milanesi  MSS.,  Biblioteca  Comunale,  Siena,  P.  III.  49,  p.  170*- 
"  Nella  sagrestia  di  S.  Donato  i  il  cataletto  che  gid,  fu  della  Confraternita 
della  SS.  Trinitd''  {Beccafumi).  p.  197.  "■  II  cataletto  della  SS.  Trinitd, 
era  finito  di  dipingere  nel  Maggio  del  1528."  (Archivio  di  Stato 
DI  Siena.  Archivio  del  Patrimonio  Ecclesiastico.  Compagnia  della  SS. 
Trinity.  Reg.  T.  No.  15,  a.  c.  73.) 

171 


172  FAME    AND    FORTUNE 

the  work  was  not  finished  until  May  1528;  and 
was  then,  in  fact,  completed  by  Beccafumi.  The 
four  panels  are  now  preserved  in  the  sacristy  of 
the  church  of  S.  Michele  (formerly  S.  Donato :  the 
Abbadia  Nuovd)\  and  the  authorship  of  the  several 
portions  is  clearly  evident.  The  Madonna  delle 
Mercede^  and  the  Pietci  are,  it  is  true,  not  fine 
specimens  of  Bazzi's  craft,  but  there  can  be  no 
doubt  that  they  are  his  handiwork  ;  whereas  the 
two  panels  representing  the  Trinity  (one  of  which 
is  however  better  drawn  than  the  other)  are  inferior, 
and  may  be  profitably  compared  with  another 
example  of  the  same  subject  by  Beccafumi,  in  the 
Siena  Academy  (Room  IX.  No.  384). 

It  was  on  May  3rd  of  this  year  that  Bazzi 
covenanted  to  paint  what  is  perhaps,  all  things 
considered,  his  masterpiece, — the  Banner  destined 
for  the  Compagnia  di  S.  Sebastiano  in  Camollia. 
References  to  various  sums  of  money  paid  on 
account  for  this  work  are  frequent  in  the  Books  of 
the  Confraternity;^  but  the  entries  are  extremely 

^  A  drawing  for  this  subject  is  to  be  found  in  the  Imperial  Collection 
in  Vienna.  Bazzi,  like  Raphael  before  him,  seems  to  have  employed 
male  models,  perhaps  his  own  garzone,  for  female  figures. 

*  Archivio  detto.  Libro  d'  Entrata  e  Uscita  della  Compagnia  di 
S.  Sebastiano.  Reg.  C.  I.  a.  c.  38'- 

Archivio  detto.  Archivio  del  Fatrimonio  dei  Resti.  S.  Sebastiano  in 
Camollia,  No.  1626,  f.  65.  "  A  di  20  di  mago  1525  raunatti  e  fratelli  ne 
la  compagnia  i'  numero  di  32  col  priore,  si  levb  u'  de  fratelli  coe  prima  el 
priore  e  dise,  al  nome  di  Dio  e  di  San  Bastiano  di  Sa  Gusmondo  e  Rocho 
e  dise  che  uno  de'  nostri  fratelli  arebe  disidero  si  facesi  u'  ghonfalone  per 
adare  a  procisione  e  darebe  tre  ducatti  e  de'  licenza  a  ognuno  cosegliasi, 
si  levo  Quirico  deto  el  Picino  e  dise,  al  nome  di  Dio  e  di  sa'  Bastiano  e 
Rocho  e  Gismondo  deti  era  Antognio  barbiere  quelo  vol  dare  e  tre 
ducatti  e  no'  pottendo  stasera  qua  venire  ed  a  sua  parte  eferischo  e  deti 
3  ducati,  ando  a  partitto  se  si  doveva  fare  e'  deto  ghonfalone,  furo  tutto 
bianchi,  furo  chiamati  nuove  operai  avesero  a  fare  el  deto  ghonfalone  e 


THE    -S.   SEBASTIAN"    BANNER    173 

confusing,  and  apparently  overlap  in  more  than 
one  instance.  The  painter  was  evidently  in  no 
hurry,  since  the  final  payments  were  not  made 
until  November  6th,  1531  ;  and  even  then,  we  are 
told  by  Romagnoli,^  the  banner  was  at  last  com- 
pleted by  Beccafumi.  What  share  Beccafumi 
actually  had  in  this  collaboration  we  know  not ; 
at  all  events  it  was  an  inconsiderable  one.  The 
figure  of  the  patron  Saint  (one  of  the  best  known 
and  most  beautiful  creations  of  Renaissance  Art), 
the  landscape  background,  and  some  portions  at 
least  of  the  reverse  side,  are  most  characteristic  of 
our  painter's  genius.  A  well-known  writer^  has 
described  the  work  admirably  as  follows  : — 

Gifted  with  an  exquisite  feeling  for  the  beauty  of  the 
human    body,    Sodoma   excelled  himself  when    he  was 

deti  nove  ne  remanghi  tre  n'  avesse  per  piu  lupini  Antognio  di  .  .  . 
barbiere  e  Quiricho  deto  Picino  bechaio  e  Bernardino  di  Piero  Marcini 
che  facesino  deto  ghonfalone  e  pesi  bene  e  se  ne  sera  buo'  coto  reso  per 
ordine  si  perda  una  polissa  dove  erano  scritte  per  ordine  fu  tolta." 

^  Romagnoli,  Op.  cit.  "  Prima  di  fame  una  piii  dettagliata  descrizione 
voglio  far  note  al  mio  lettore,  che  per  un  documento  da  me  ritrovato 
neir  Archivio  del  Patrimonio  de'  resti  apprendo,  che  questo  stendardo 
fii  incominciato  dal  Kazzi  («V),  e  terminate  dal  Beccafumi.  Nel  citato 
archivio  ove  stanno  i  libri  attinenti  ai  locaU  aboliti  dal  G.  D.  Pietro 
Leopold©,  lessi  tralle  deliberazioni  della  compagnia  di  S.  Sebastiano  in 
CauioUia,  che  questo  Gonfalone  nel  1525  :  non  essendo  intieramente 
terminate  dal  Razzi,  furono  proposti  varij  artisti  per  finirlo  giach^  1'  autore 
non  voile  piu  porvi  la  mano.  Lessi  in  una  cartapecora  "  [a  search  for 
this  document  has  proved  fruitless]  "  la  deliberazione  nella  quale  si 
eleggono  tre  deputati  in  Girolamo  di  Tomasso,  Lorenzo  di  Francesco 
Corti,  e  Pierantonio  detto  lo  Sbada,  aflSnche  facciano  terminare  quest' 
opera  al  Beccafumi  come  fecero." 

The  following  note  from  Milanesi's  MSB.  before  mentioned  seems  to 
refer  to  the  same  thing,  but  no  corroborative  evidence  is  to  be  found 
elsewhere  (p.  169*)  :  Nel  1523  ^''  terniino  il  Beccafumi  lo  stendardo  di 
S.  Bastiano  lasciato  ijnperfetto  dal  Beccafumi  "  (sic). 

^  John  Addington  Symonds,  The  Renaissance  in  Italy  :  The  Fine 
Arts.    London,  1877.    PP-  Soo'Soi- 


174  FAME    AND    FORTUNE 

contented  with  a  single  figure.  His  5.  Sebastian,  not- 
withstanding its  wan  and  faded  colouring,  is  still  the 
very  best  that  has  been  painted.  Suffering,  refined  and 
spiritual,  without  contortion  or  spasm,  could  not  be  pre- 
sented with  more  pathos  in  a  form  of  more  surpassing 
loveliness.  This  is  a  truly  demonic  picture  in  the  fascina- 
tion it  exercises  and  the  memory  it  leaves  upon  the  mind. 
Part  of  its  unanalysable  charm  may  be  due  to  the  bold 
thought  of  combining  the  beauty  of  a  Greek  Hylas  with 
the  Christian  sentiment  of  martyrdom.  Only  the  Renais- 
sance could  have  produced  a  hybrid  so  successful,  because 
so  deeply  felt. 

To  US  the  *'  wan  and  faded  colouring  "  is  one  of 
the  great  charms  of  the  composition  ;  but  the 
awkwardly  posed  angel  bearing  the  Martyr's  crown 
is  a  distinct  blot.^  On  the  reverse  of  the  standard 
the  Madonna  and  Child  dst  poised  in  the  air  above 
a  kneeling  group :  SS.  Roch  and  Sigismund, 
together  with  several  members  of  the  Confraternity 
of  Flagellants.  The  worshippers  below  are  well 
grouped,  though  another  hand  has  touched  the 
clouds  upon  which  the  Madonna  is  seated ;  whilst 
her  effigy  ^  and  that  of  her  Divine  Son  are  inferior 
to  the  rest  of  the  work.  This  may  in  fact  be  the 
portion  compleledhy  Beccafumi,  the  recluse;  whose 
artistic  temperament  and  training  would  have 
paralysed  any  endeavour  or  desire  to  rival  the 
achievement  of  his  great  competitor.    We  read  that 

^  Berenson  {Drawings  of  the  Florentine  Painters  cit.,  p.  163)  states 
that  Bazzi,  in  creating  his  S.  Sebastian,  must  have  known  a  drawing  for 
this  same  subject  by  Leonardo,  now  belonging  to  M.  Leon  Bonnat,  of 
Paris  ;  since  both  present  the  same  action  and  expression. 

2  It  is  curious  that  Mr.  Langton  Douglas  {Op.  cit.,  pp.  403-4)  should 
perceive  a  resemblance  between  the  features  of  this  Madonna  and  those 
of  one  of  Bazzi's  most  beautiful  presentments  of  the  Holy  Mother  :  viz. 
that  over  the  altar  of  the  chapel  in  the  Palazzo  Pubblico  in  Siena. 


Photo:  Anderson. 


S.    SEBASTIAN. 

UFFIZI,    FLORENCE. 


To /ace  p.  174. 


THE   CHAPEL   OF    S.    CATHERINE    175 

the  sum  agreed  upon  to  be  paid  to  the  artist  for  this 
work  was  20  ducats,  of  7  lire  to  the  ducat ;  but 
that  this  sum  not  being  found  sufficient,  another 
10  ducats  were  added.  We  are,  moreover,  told  by 
Vasari  himself,  that  a  number  of  merchants  from 
Lucca  there  and  then  offered  300  gold  scudi  for  the 
banner ;  despite  which  the  Confraternity  refused 
to  part  with  their  highly  prized  possession.  The 
standard  was,  however,  eventually  purchased  from 
them  in  1786  ^  for  200  zecchini  by  the  Grand  Duke 
of  Tuscany  for  his  collection  at  the  Uffizi,  where  it  is 
exhibited  to  this  day  (Smaller  Tuscan  Room,  on  an 
easel). 

The  following  year  was  marked  by  the  inception 
of  a  scarcely  less  celebrated  undertaking — this  time 
in  fresco — i.e.,  the  decoration  of  the  Chapel  of  S. 
Catherine  in  the  Church  of  S.  Domenico  at  Siena. 
In  spite  of  the  admiration  bestowed  upon  this  work 
from  the  earliest  times  onwards,  little  or  no  record 
remains  concerning  its  origin. 

The  history  of  the  Chapel  is  an  interesting  one, 
and  a  few  words  concerning  it  may  not  be  out  of 
place  here. 

In  the  vault  below  lie  the  bodies  of  the  two 
celebrated  physicians,^   Marco,  son  of  Giovanni 

^  Delia  Valle  {Op.  cit.,  p.  266)  tells  us  that  the  Sienese  and  Florentines 
were  unable  to  come  to  terms  as  to  the  price  of  this  picture,  and  there- 
fore submitted  it  for  arbitration  to  the  Academy  of  Bologna. 

^  Faluschi  MSS.  Bib.  Com.  Siena,  Cod.  E.V.  16,  Chiese  Senesi,  A-F, 
pp.  148'-  and  154'-  Cf.  also  R.  H.  Hobart  Cust,  The  Pavement 
Masters  of  Siena,  G.  Bell  &  Son,  London,  1901,  p.  147  ;  and  ^^  Some 
Overlooked  Masterpieces.^'  Burlington  Magazine,  vol.  iv.  p.  256.  It 
should  be  noted  that  in  previous  writings  concerning  this  chapel  an 
unfortunate  confusion  has  arisen  between  uncle  and  nephew.  Sozzini 
Benzi,  another  physician,  belonging  to  this  family,  is  also  buried 
here. 


176  FAME   AND   FORTUNE 

Benzi  and  Nicola  di  Serfucci,  who  died  January 
23rd,  1429;  and  his  uncle  Ugo,  son  of  Andrea 
Benzi  and  Minoccia  Pagni,  who,  after  lecturing 
for  a  time  in  Paris,  served  Niccolo,  Marchese 
d'Este,  as  his  physician,  and  died  in  Ferrara  in 
1 439.  His  body  was  brought  to  Siena  and  interred 
here  in  1448,  and  the  following  inscription — 
''Deo  immortali  max.  Ugoni  Bencio  Senensi 
Philosophorum  hominum  ac  medicorum  sue  etatis 
facile  Prmcipi  parenti  opt .  Ob.  excellente  doctrina 
de  Muiverso  hominum  genere  B.M.  filii  pot.  XL 
Kal.  decembris  anno  domini  1448'' — marks  his 
last  resting-place.  In  1488  Niccol6  Buonsignori 
Benzi  erected  the  present  building ;  and  the  altar- 
shrine,  containing  the  skull  of  S.  Catherine,  is 
generally  supposed  to  be  the  work  of  Giovanni  di 
Stefano  di  Giovanni.^  The  following  inscription, 
BEZi  sCa.  tvi  nicolai  svscipe.  cvram  okterina. 
records  its  erection. 

About  1525-26  Bazzi  entered  into  a  contract 
with  the  Dominican  friars  of  this  convent  for  a 
scheme  of  decoration  to  embrace  the  entire  chapel. 
Despite  Vasari's  strictures  with  regard  to  the 
artist's  culpable  neglect  to  prepare  preliminary 
sketches,  it  is  abundantly  evident  that  he  ap- 
proached this  theme  with  a  comprehensive  idea, 
and  no  little  thought  as  to  the  general  effect.  The 
virtually   complete    condition    of    the   decorative 

^  W.  Heywood  &  L.  Olcott,  Guide  to  Siena :  Siena,  Torrini,  1903, 
p.  311.  It  was  once  attributed  to  Lorenzo  di  Fietro  (il  Vecchietta). 
Gio.  di  Stefano  was  son  of  the  celebrated  artist  Sassetta.  He  was  also 
commissioned  to  design  a  silver  head  to  contain  the  saint's  skull  afterwards 
executed  by  Francesco  di  Antonio.  Cf.  Cust,  Pavement  Masters  cit.^ 
p.  123- 


DRAWINGS  177 

portion  goes  a  long  way  towards  proving  this. 
Four  arches  pierced  with  openings, — amid  which 
flights  oi  piitti,  carrying  garlands,  disport  them- 
selves,— frame  the  chapel  walls.  These  are  un- 
mistakably the  work  of  Bazzi  himself,  and  exhibit 
undoubted  unity  of  conception.  The  pilasters  at 
the  corners  are  decorated  with  his  favourite 
'*  Rabeschi','  likewise  painted  with  much  care  and 
skill.  The  inside  of  the  arch  over  the  entrance 
from  the  church  displays  figures  of  a  Prophet  and 
an  Evangelist,  symbolizing  the  Old  and  New  Dis- 
pensations. These  are  attended  by  some  of  the 
most  charming  examples  oi putti  known  to  Italian 
Art.i 

Besides  the  frescoes  still  extant,  there  was  also  a 
vaulted  ceiling,^  upon  which  was  painted  the  figure 
of  God  the  Father.  This,  however,  fell  in  during 
the  earthquake  of  1798,  and  is  now  replaced  by  a 
glass  cupola. 

Having  reached  this  stage,  our  artist  set  himself 
to  prepare  designs  for  the  adornment  of  the  wall- 
spaces  on  either  side  of  the  Shrine.  This  task 
would  seem  to  have  exercised  his  mind  a  great 
deal  more  than  is  generally  supposed.  Two 
designs  at  least  for  the  entire  scheme  exist  (Uffizi, 
Case  343,  No.  564,  and  Case  346,  No.  1943^), 
and  there  are  several  other  sketches  extant,  probably 

*  The  two  putti  above  the  Evangelist  may  be  well  compared  with  the 
celebrated  infants  at  the  foot  of  the  Madonna  di  S.  Sisto  of  Raphael. 
Romagnoli,  Op.  cit.,  states  that  all  these  figures  were  retouched  in  1806 
by  Francesco  Mazzuoli  of  Siena. 

2  Vasari  {Op.  cit.,  p.  394)  is  forced  (his  prejudices  notwithstanding) 
into  grudging  praise  of  these  works ;  even  quoting  Baldassare  Peruzzi's 
encomium  on  them,  and  he  calls  the  vault  an  arco. 

12 


178  FAME   AND   FORTUNE 

conceived  in  connection  with  groups  and  single 
figures.  Of  these  latter,  the  finest  is  a  large  pencil 
sketch  preserved  among  the  unexhibited  drawings 
in  the  Uf!izi  (Santarelli  Coll.,  Sheet  4,  No.  268) ; 
which, — though  reversed  as  regards  the  present 
composition,  and  notwithstanding  certain  dis- 
crepancies in  minor  detail, — doubtless  represents 
an  idea  for  the  whole.^  It  is  probable  also  that 
many  of  the  Veiled  Heads  to  be  found  in  various 
collections  of  drawings  throughout  Europe,  are 
sketches  for  this  important  work.  The  shape  of  the 
two  panels  admittedly  produces  a  disturbing  effect. 
The  Ecstasy  of  S.  Catherine,  in  spite  of  certain 
beauties  of  detail,  is  unsatisfying.  The  presentment 
of  God  the  Father,  though  recalling  in  attitude 
certain  works  of  Michelangelo,  is  distinctly  infeli- 
citous. Two  conspicuous  faults  mar  the  other  and 
more  celebrated  work :  the  Stigmata,  better — 
though  perhaps  not  quite  appropriately — known 
as  lo  Svenimento :  namely,  the  awkwardly  poised 
figure  of  the  Saviour  overhead,  and  the  unsightly 
pilaster,  which  divides  the  composition, — narrow 
enough  already, — into  two  halves.  Nothing  can, 
however,  excel  the  beauty  of  the  group  below.  The 
swooning  Saint,  supported  by  her  two  companions, 
Alessia  and  Francesca,^  sinks  down  in  complete 

^  Another  sketch  for  this  composition, — a  pen-and-ink  drawing, — is 
also  preserved  in  the  same  portfolio  (No.  1942) ;  but  it  looks  like  a  late 
copy.  It  bears,  however,  the  date  on  the  pilaster  behind  the  principal 
group ;  no  longer  to  be  read  on  the  original  work.  Vasari  speaks  en- 
thusiastically of  a  drawing  for  this  subject  in  his  own  possession  ;  thus  in 
a  measure  contradicting  himself  as  to  the  artist's  methods  of  work. 

2  A  useful  comparison  may  be  made  between  this  more  matured  group 
and  that  nearly  as  lovely :  the  Swooning  Virgin,  in  the  Deposition  fro7n 
the  Cross ;  painted  nearly  twenty  years  earlier. 


Photo:  Alinari. 


THE   SWOON   OF   S.    CATHERINE.     {LO  SVENIMENTO.) 


CHURCH   OF   S.    DOMENICO,    SIENA. 


To  face  f.  178. 


^9-^     OF  THE        r 

Ur41VERSlTY 


"LO    SVENIMENTO"  179 

powerlessness  before  the  Divine  influences  wafted 
over  her  ;  and  in  this  very  expression  of  spiritual 
self-abandonment  the  artist  has  caught  with  con- 
summate skill  that  indefinable  spirit  which,  domi- 
nating the  earthly  element,  was  the  secret  of  the 
power  which  SS.  Catherine,  Francis  and  Bernardino 
wielded  over  the  souls  of  their  contemporaries.  It 
was  the  Spirit  of  God,  filling  the  whole  being  of 
the  Dyer's  daughter,  which  made  her  the  heroine 
and  saint  she  became;  and  it  is  this  wonderful 
expression  of  the  Divine  Essence — to  say  nothing 
of  the  technical  excellencies  of  the  picture — that 
arrests  and  holds  our  attention  so  completely.  The 
beauty  of  the  Saint's  countenance  and  mien  is  most 
impressive  ;  whilst  masterly  draughtsmanship  pro- 
duces upon  us,  in  that  somewhat  ill-lighted  chapel 
corner,  the  effect  of  a  fine  piece  of  statuary.  This 
is,  however,  not  all ;  or  the  very  deficiencies  of  the 
composition  would  affect  us  more  than  they  actu- 
ally do.  We  are  conscious  of,  and  are  desirous  of 
condemning  them,  but  something  akin  to  awe  ties 
our  tongues,  and  we  forbear.^ 

'  The  student  will  no  doubt  recall  the  lines  of  Mr.  Algernon  Charles 
Swinburne  {Songs  before  Sunrise  :  "  Siena.''  London  :  Chatto  &  Windus, 
1874,  p.  196.) 

"There  on  the  dim  side-chapel  wall 
Thy  mighty  touch  memorial 
Razzi  («V),  raised  up,  for  ages  dead — 
And  fixed  for  us  her  heavenly  head — " 

The  same  poet,  it  may  be  observed,  is  most  enthusiastic  also  (p.  198 
and  note)  over  our  artist's  Christ  at  the  Column.  We  greatly  regret 
to  find  so  able  a  writer  as  Mr.  Maurice  Hewlett,  for  whose  enchanting 
Mediaeval  Novelle  we  are  fain  to  express  unqualified  admiration, 
committing  himself  to  such  phrases  with  regard  to  this  fresco  as 
{Earthwork  out  of  Tuscany:  Dent,  London,  1895,  P-  ^67)  "Sodoma 
who  betrayed  her "  (St.   Catherine),  and   "  Sodoma  who  painted  her 


i8o  FAME   AND    FORTUNE 

Here,  too,  we  see  remains  of  Ancient  Rome  (the 
Temple  of  the  Sibyl  at  Tivoli)  introduced  into  the 
landscape ;  a  decorative  subject  which  appears  to 
have  been  one  of  Bazzi's  favourite  devices. 

The  huge  fresco  on  the  left  wall,  The  Execution 
of  Niccold  Tuldo,  shows  our  artist,  we  confess, 
almost  at  his  worst.  Despite  the  splendid  young 
soldier  in  the  centre, — recalling  the  Alexander  of 
the  Farnesina, — and  certain  exquisite  single  heads, 
such  confusion  of  ideas  and  careless  crowding  of 
the  composition  prevails,  as  might  well  provoke  the 
unimaginative  Aretine  to  fury.^  Anything  more 
revolting,  or  unlike  nature,  than  Tuldo's  headless 
corpse,  it  is  hard  to  imagine.     Yet  a  glamour  of 

like  a  Danae  with  love-glazed  eyes  fainting  before  the  apparition  of 
the  Crucified  Seraph."  But  we  apprehend,  from  such  remarks  by 
the  same  writer  as  "  the  emptiest  pupil  that  Leonardo  ever  tried  to 
fill"  {Quarterly  Review,  July  1903),  and  other  similar  reflections 
in  a  more  recent  work  \The  Road  in  Tuscany  :  London,  Macmillan, 
1904,  pp.  254-5)  upon  our  artist's  Mont'  Oliveto  Cycle,  that  he  has  not 
troubled  to  ascertain  the  real  facts  concerning  Bazzi's  life  and  artistic 
origin,  and  has  failed  to  grasp  the  true  secret  of  the  painter's  unquestion- 
able talent  and  charm.  To  admire  or  not  to  admire  the  work  of  Bazzi 
is  a  matter  of  individual  opinion  ;  but  it  is  impossible  to  deny  his 
genius;  and  "boys,  baggages  and  spiritual  exotics"  is  scarcely  fair  or 
just  criticism.  Even  Mr.  Berenson,  who  is  not  given  to  exaggerated 
praise  in  this  quarter,  speaks  of  him  thus  {The  Drawings  of  the 
Florentine  Painters  cit.,  vol.  i.  p.  34):  "Sodoma  his  (Leonardo's)  most 
gifted  follower."  To  further  suggest  that  some  of  his  work  is  bad  {sic) 
enough  for  Pinturicchio  is  still  more  beside  the  mark  as  an  artistic 
appreciation. 

^  Vasari,  Op.  cit.,  pp.  394-5  :  "  Nella  quale  storia,  dico,  h  un  molto 
gran  numero  di  figure,  le  quali  niuno  dee  maravigliarsi  se  non  sono 
d'  intera  perfezione ;  imperoche  ho  inteso  per  cosa  carta,  che  Giovan 
Antonio  si  era  rid  otto  a  tale,  per  infingardaggine  e  pigrizia,  che  non 
faceva  ne  disegni  n^  cartoni,  quando  aveva  alcuna  cosa  simile  a  lavorare, 
ma  si  riduceva  in  sulF  opera  a  disegnare  col  pennello  sopra  la  calcina 
(che  era  cosa  strana) ;  nel  qual  modo  si  vede  essere  stata  da  lui  fatta 
questa  storia."  It  is  worth  observing  that  Vasari  seems  to  have  got  this  bit 
of  information  from  some  one  who  had  actually  seen  Bazzi  at  work. 


1       ^"^ 

J-  ■Prtf  iiiriMfl 

V|k 

* 

_^^-^^ 

J'Si^UlJ^ 

N^^I^B 

H^E^'^^r^^^ 

WE^^-^.''' '  '       >><?>'  ' 

'•                      ^^^^<s 

r      '  SBL^P^^^^HQ^ 

^i^ 

^    <d^^H 

^■r 

1^       ---;.  -^---;, 

w^^^^^ 

^^^HH^BB  »    \     ^^7- 

^"'HiP' 

«-t  ■  i  i^                 ^ 

'^^^^V^wfr^TV^-^'-'''  ' 

f"      '^ 

Photo:  Lonibardi, 

HEAD   OF   A  YOUNG   CENTURION. 
DETAIL    FROiM    "  y'iY^'  EXECUTION  OF  NICCOLO    TULDO." 

S.    DOMENMCO,    SIENA. 


To  face  p.  t8o. 


''THE    DEMONIAC   GIRL"  i8i 

beauty  is  cast  over  the  whole — staying  our  con- 
demnation— by  the  angels  hovering  above,  who  are 
bearing  the  soul  of  the  repentant  sinner  to  Heaven. 
These  three  lovely  beings  recall  to  our  minds  the 
celestial  personages  who  witness  the  Disputa  in 
the  Camera  della  Segnatura,  showing  how  well 
our  artist  remembered  suggestions  and  ideas 
accumulated  long  before.  With  the  flying  demon 
at  the  back  we  are  transported  in  memory  to 
Monte  Oliveto. 

Why  Bazzi  did  not  complete  the  entire  decoration 
of  the  chapel  we  shall  never  satisfactorily  ascer- 
tain:^ probably  owing  to  some  dispute  with  his 
patrons ;  but  that  he  had  selected  the  companion 
subject  is  abundantly  proved  by  still  existing 
drawings  preserved  in  the  Uffizi  (Case  343, 
Nos.  562,  565,  1507,  1508).  These  designs,  four 
in  number,  were  known  always  to  be  sketches  for 
some  work  in  this  chapel ;  and  critics  generally 
surmised  their  connection  with  the  Svenimento 
itself.  A  fortunate  chance  revealed  to  us  their  true 
intent ;  examination  proving  them  to  be  designs  for 
one  of  S.  Catherine's  Acts — i.e.  the  Miracle  of  the 
Exorcism  of  the  Demoniac  Girl? 

Whether  this  subject  was  chosen  by  the  artist 
himself  or  by  his  employers,  matters  not.  The 
idea  was  adhered  to  long  after  Bazzi' s  departure  ; 
and  it  would  seem  as  though  his  drawings  had 
been  preserved  for  use  as  collective  information  ;  to 
be  consulted  and  studied  by  Francesco  Vanni,  who 

1  Vasari,  Op.  cit.^  p.  395  :  "  parte  per  suo  difetto,  che  non  voleva 
lavorare  se  non  a  capricci,  e  parte  per  non  essere  stato  pagato  da  chi 
faceva  fare  quella  cappella." 

?  Cust,  The  Burlington  Magazine  cit.,  p.  250, 


i82  FAME  AND    FORTUNE 

seventy  years  later^  painted  the  impressive  work  in 
oils  that  now  adorns  the  wall  of  the  chapel. 

To  this  same  period  may  be  allotted  a  picture, 
described  by  Vasari — long  supposed  to  have  disap- 
peared,— but  to  which  Frizzoni  has  drawn  attention.^ 
It  hangs  over  the  altar  in  the  Chapel  of  the  Rosary; 
and  the  composition  appears  to  have  been  intended 
as  a  sort  of  framework  for  an  ancient  painting  of 
the  Madonna?  God  the  Father  above  extends  His 
hands  in  blessing  over  the  four  Saints,  Dominick, 
Sigismund,  Sebastian,  and  Catherine.  Below  is  a 
view  of  Siena  (not  S.  Gimignano),  and  beneath  the 
whole  runs  a  series  of  fifteen  small  Scenes  from  the 

^  The  date  of  the  commission  was  November  25th,  1593,  and  the 
payment  for  the  work  130  scudi  of  7  Hre  to  the  scudo.  The  document 
commissioning  it  is  from  the  Taccuino  del  Cataneo,  Bib.  Com,  Siena,  and 
may  be  found  in  Gaye,  Carteggio  Inedito  d'Artisti  dei  Secoli  XIV.,  XK, 
XVI.  (Firenze,  1840),  vol.  iii.,  p.  508  ;  and  also  more  completely  with  the 
receipt  attached,  in  Mil.  Doc,  vol.  iii.,  p.  267,  where  the  original  is  said 
to  have  been  in  the  possession  of  Giuseppe  Porri. 

'^  Frizzoni,  Op.  cit.,  p.  163  note.  With  all  due  respect  we  feel  bound 
to  point  out  the  somewhat  curious  mistake  made  by  a  recent  writer 
on  Bazzi  (Priuli  Bon,  Op.  cit.,  p.  67),  where  the  following  description 
of  the  picture  is  given  :  "  In  the  Chapel  of  the  Rosary,  next  to  the 
High  Altar,  is  a  much  blackened  altar-piece,  the  study  for  which  we 
have  already  mentioned,  as  being  among  the  drawings  in  the  Uffizi. 
The  dead  Christ  lies  on  the  knees  of  the  Father,  who  holds  a  globe  in 
His  left  hand.  On  either  side  stand  two  saints,  SS.  Dominic  and 
Sigismund  to  the  left,  S.  Catherine  of  Siena  and  a  fine  nude  figure  of 
S.  Sebastian  to  the  right.  The  town  of  San  Gemignano  is  faintly  visible 
below."  And  on  page  64 :  "  The  other  drawing  is  evidently  a  study  for 
the  picture  of  the  Trinity,  which  he  painted  for  the  Rosary  Chapel  of 
San  Domt  nico,  a  pencil  drawing  washed  with  sepia  and  Chinese  >vhite. 
In  it  the  Eternal  Father  bears  the  dead  Christ  upon  His  knee,  the  Dove 
hovers  above  them,  and  S.  Catherine  of  Siena  and  several  other  saints 
are  grouped  around."  We  need  only  refer  readers  to  the  text  to  show 
how  entirely  misleading  these  two  passages  are.  The  picture  as 
described  by  Contessa  Priuli  Bon  does  not  exist ;  and  the  fine  drawing 
has  no  connection  whatever  with  the  painting  recorded  by  Vasari. 

^  The  author  of  Siena  e  il  suo  Territorio,  p.  267,  speak?  of  this  ancient 
work  as  a  "  tabernacolo ''  by  Berna, 


S.   GIOV.    BATTISTA   DELLA   MORTE  183 

Life  of  Our  Lord,  set  in  three  rows  and  forming 
a  sort  of  predella.  The  large  picture,  though 
blackened,  injured,  and  hung  in  a  bad  light,  is 
undoubtedly  by  Bazzi ;  but  the  predella  paintings 
are,  we  should  say,  the  work  of  imitators. 

A  much  injured  and  repainted  processional 
banner,  on  silk,  belonging  to  the  same  church,  is 
also  by  our  artist.  The  Virgin,  with  hands  folded 
in  prayer  and  supported  by  a  flight  oiptitti  scatter- 
ing roses,  is  borne  to  heaven  ;  whilst  below,  behind 
her  vacant  tomb,  may  be  seen  the  city  of  Siena. 

Bazzi's  talents  at  this  period  of  his  career  seem 
to  have  been  much  in  request  for  the  decoration 
of  the  biers  belonging  to  the  various  City  Con- 
fraternities,^ and  the  elaborate  accounts  of  the 
Compagnia  di  S.  Giovanni  Battista  della  Morte  for 
1526-7,^  showthe  interest  taken  by  the  various  Guild 
Members  in  the  work ;  and  also  their  somewhat 
primitive  business  methods.  The  payments  seem 
to  have  been  made  in  kind,  materials,  etc.,  besides 
cash  advances ;  for  the  Confraternity  appears  to 
have  provided  the  panels,  woodwork,  and  nails 
for  the  commission.  We  also  read  of  a  quintevfto 
di  fogli  reali  (a  quire  of  royal  folio  sheets  of  paper), 
three  pigs,  and  a  staio  (bushel)  of  salt.  The  total 
sum  paid  amounted  to  98  lire,  and  the  critical 
Vasari  is  even  moved  to  praise  these  somewhat 
insufficient  works;  as  much,  it  would  seem,  for  their 

^  In  the  Siena  Academy  there  are  four  panels  (Room  VIII. ,  Nos.  326, 
327,  360,  361),  for  a  bier  for  the  Compagnia  di  Fontegiusta,  which,  if 
not  by  the  master  himself,  clearly  came  from  his  bottega. 

2  Archivio  di  Stato  di  Siena.  Archivio  del  Fatrifnonio  dei  Resti 
Ecdesiastici.  Compagnia  di  S.  Giovanni  Battista  della  Morte.  Reg.  E, 
HI.,  816  f.  84,  t.  and  Reg  C.  I.     See  Appendix,  No.  17. 


i84  FAME    AND    FORTUNE 

intrinsic  worth  as  for  the  ''diligence  and  money 
rarely  expended  on  such  things."^  They  may  still  be 
seen,  hung  high  up  in  the  chapel  of  SS.  Giovannino 
and  Gennaro  :  a  small  building  in  an  unfrequented 
street  to  the  right  of  the  Siena  Baptistery,  too  un- 
pretending in  appearance  to  attract  general  notice. 
Before  proceeding  to  the  next  stage  of  our 
painter's  career,  we  must  draw  attention  to  another 
series  of  frescoes  by  himself,  his  pupils,  and  his 
assistants,  to  which  no  definite  date  can  be  assigned ; 
works  not  mentioned  by  Vasari,  but  which  in  all 
probability  owe  their  inception  to  this  period  of  his 
life.  These  originally  adorned  the  vast  church, 
built  half-underground,  once  belonging  to  the  Com- 
pagnia  di  S.  Croce.  The  best  of  them  were  removed 
in  1842  from  this  edifice, — now  used  as  a  Public 
Gymnasium, — through  the  instrumentality  of 
Conti  Silvio  Griccioli  and  Marcantonio  Bandinelli 
to  places  of  greater  security.  Three  subjects  only 
from  the  series  call  for  special  notice.  They  are  the 
Way  of  the  Cross,  the  Agony  in  the  Garden,  and 
the  Descent  into  Limbo ;  the  two  last  of  which  are 
worthy  of  a  place  among  Bazzi's  most  successful 
compositions.  Upon  the  dismantlingof  the  church, 
the  first  named,  together  with  other  less  important 
fragments,^  was  removed  to  the  chapel  of  the  sup- 
pressed Monastery  of  S.  Eugenio,  outside  Porta 
S.  Marco  :  at  that  time  already  the  Villa  Griccioli. 

^  Vasari,  Op.  cit.,  p.  393  :  ^^  perch.},  oltre  aW  essere  veramente  molto  da 
lodare,  rade  volte  sifannofare  simili  cose  conspesa  0  molta  diligenzaP 

^  One  of  these  inferior  fragments, — a  Finding  of  the  Cross, — has  an 
incidental  interest,  inasmuch  as  the  Empress  Helena  and  her  attendants 
are  said  to  be  portrait^  gf  the  female  mernbers  of  the  family  of  Pandolfg 
Petrucci. 


UNIVERSITY 


Photo:  Alinari. 


HEAD   OF   A   SLEEPING   APOSTLE. 
DETAIL   FROM   "  THE  AGONY  IN  THE  GARDEN: 

SIENA    ACADEMY. 


To /ace  p.  185. 


"THE    DESCENT    INTO   LIMBO"     185 

This  "  IVay  of  the  Cross,''  although  obviously  by 
the  master's  own  hand,  is  but  an  indifferent  piece 
of  work,  and,  apart  even  from  the-  mischief  of  the 
restorers  craft, does  not  redound  much  to  his  credit. 
The  other  two,  on  the  contrary,  are  remarkable  for 
exceptional  beauty.^  The  composition  of  the  Agony 
in  the  Garden  may  be  faulty  as  a  whole ;  but  the 
fine  heads  of  the  three  sleeping  Apostles,  especially 
^.  John,  compel  even  unwilling  admiration,  and 
would    redeem    any    work    from   the   stigma  of 
commonplace.     The  Descent  into  Limbo  is  justly 
celebrated  ;  containing  as  it  does  one  of  the  most 
exquisite  nude  figures  ever  produced  by  Art.    The 
grace   of   Eve — her   modesty,    instinct   with   the 
knowledge  of  her  power — is  absolutely  unsurpassed 
and  unsurpassable.      She  stands   before  us,  the 
epitome  of  all  that  Art  in  its  loftiest  sense  has  ever 
expressed  in  female  loveliness  ;  and  a  painter  who 
could  so  conceive  and  devise  our  First  Mother, 
would  deserve,  for  this  work  alone,  to  fill  one  of 
the  highest  places  in  the  Temple  of  Fame.     It  is 
not  mere  beauty  ;  it  is  far  more.    It  is  the  absolute 
embodiment  of  all  that  man  ever  dreamt  or  thought 
of  IVoman,   in  her   noblest   and   truest   essence. 
Bending  towards  Adam,  her  glance  rests  wistfully 
upon  the  Saviour  of  Mankind,  who,  with  gracious 
gesture,  raises  her  son  Abel  from  the  tomb.     The 
informing  sentiment  of  the  work  is  sublime  in  its 
very  simplicity;  and  the  creator  of  two  such  perfect 
works,  as  the  Marriage  of  Alexander  and  the 

^  It  is  to  be  noted  that  all  these  three  frescoes,  and  that  of  the 
Descent  from  the  Cross  by  Pacchia, — which,  by  the  way,  is  evidently  from 
9,  Bazzi  design, — are  painted  inside  niches. 


i86  FAME   AND    FORTUNE 

Descent  into  Limbo,  must,  in  spite  of  all  his  many 
weaknesses,  take  a  foremost  rank  amid  artists  in 
all  ages. 

General  opinion  fixes  the  date  of  this  Passion 
Series  in  the  year  1525.  In  our  judgment  they 
strongly  recall,  both  in  style  and  idea,  the  fragment 
of  the  Last  Supper  in  the  Olivetan  Convent  at 
Florence,  and  might  perhaps  be  more  or  less 
contemporary  with  that  work. 

On  August  31st  of  this  year  (1527)  we  find  the 
Opera  del  Duomo  setting  our  artist  to  work  once 
more  :  this  time  upon  a  design  for  the  famous 
Pavement.^  We  cannot  trace  any  further  record 
of  this  work ;  neither  are  we  able  to  identify  the 
same  with  any  degree  of  certainty.  A  figure  of 
Rve,  however,  among  the  series  on  the  south 
side  of  the  high  altar,  bears  distinct  testimony  to 
Bazzi's  influence,  and  may  well  have  been  executed 
later,  after  one  of  his  cartoons.^ 

Again  in  this  same  year  we  see  him  in  company 
with  another  artist,  one  Giovanni  di  Lorenzo,^ 
seconding  a  demand  made  by  Beccafumi  ^  to  the 

^  Archivio  dell'  Opera  del  Duomo.  Libra  di  tre  Angeli  dal  152 1 
al  1529  a.c.  465.  1527.  31  Agosto,  ChristoMDXXVII.  "Misser  Giovant. 
detto  el  Sodoma  dipetore  de  dare  a  di  xxxj  d'  agosto  lire  quatordici  di 
denari  ebe  per  prezo  del  disegnio  aveva  fatto  per  la  storia  di  domo 
e  percio  de  Tomasso  di  Gabriello  nostro  camerlengo  sono  a  sua  uscita  a 
f.  38  .  .  .  Lire  xiiij." 

^  Cust,  Pavement  Masters  cit.,  p.  90. 

^  Of  this  painter  nothing  but  the  name  is  known  ;  but  a  certain 
Lorenzo  di  Giovanni,  likewise  a  painter, — and  also  otherwise  unknown, 
— is  recorded  in  a  document  dated  October  23rd,  1525  (Archivio 
DI  Stato  di  Siena  :  Arch,  del  Patrimonio  Ecclesiastico,  Compagnia  di  S. 
Antonio  Abate.  Bilancio  del  1524.  Reg.  C.  I.,  a.  c.  91'-  Mil.  Doc, 
vol.  iii.  p.  83),  as  one  of  the  workmen  employed  by  the  Confraternita 
di  S.  Antonio  Abate. 

*  Arch,  Not.  Prov.   Siena.     1527.    4    di    Settembre?    Rogiti  di 


Photo:  Aliiiar 


ADAM   AND   EVE. 

DETAIL   FROM   "  THE  DESCENT  INTO  LIMBO.' 

sib;na  academy. 


To /ace  p.  i86. 


ILLNESS   IN    FLORENCE  187 

Signoria  of  Siena,  for  payment  of  the  balance  of  a 
sum  due  to  him  by  Francesco  di  Camillo  Petrucci, 
— then  in  exile,  with  all  his  goods  escheated  to  the 
State.  The  original  document  concerning  this 
transaction  was  printed  in  full  by  Milanesi  in  1850, 
but  is  no  longer  to  be  found. ^ 

Frizzoni  calls  attention^  to  two  other  events, 
noted  in  Milanesi's  Chronological  List,^  and  placed 
within  this  year.  The  unfortunate  loss  of  the  last- 
mentioned  deed,  and  still  more  that  of  another  very 
important  petition  to  the  authorities  by  our  artist 
himself,  has  given  rise  to  much  speculation.  We 
learn  from  this  document  that  our  hero,  falling 
sick  in  Florence,  lay  during  a  certain  period  in  the 
Hospital  of  S.  Maria  Nuova,  in  Bed  42.  During  his 
illness,  his  pupil,  Girolamo  di  Francesco  Magagni 
Giomo  del  Sodomd),  accompanied  by  Gianni  Scric- 
ciolo,  son  of  one  Palachino  of  Volterra,  entered  his 
master's  studio  on  a  variety  of  occasions,  and  "  by 
order  "  (di  commessione), — as  the  copied  document 
sets  forth, — conveyed^  thence  a  large  number  of 
articles ;  many  of  which  appear  to  have  been  con- 

Ser  Girolamo  Ottaviani.  Filza  degli  Atti  della  Mercanzia.  Mil.  Doc, 
vol.  iii.  No.  50.  p.  loi.  Of  this  picture  by  Beccafumi  for  Francesco 
Petrucci,  no  trace  can  be  found.  The  exact  locality  of  the  Petrucci 
residence  is  not  known.  Perhaps  their  home  was  the  palace  once 
belonging  to  the  Agostini,  and  now  the  property  of  the  Bindi-Sergardi 
family. 

^  The  attestation  clause  was  photographed  and  published  in  La 
Scrittura  di  Artisti  Italiani  {vfith  notes  and  explanations  by  G.  Milanesi : 
Firenze,  Carlo  Pini,  1876,  vol.  ii.  p.  144).  See  Appendix  No.  19.  It 
should  be  noted  that  Milanesi  gives  Settembre  as  the  date  of  this  petition, 
whereas  the  photograph  reads  Dicembre. 

2  PYizzoni,  Op.  cit.,  p.  165. 

^  Vasari,  Op.  cit.,  p.  407. 

*  Arch,  detto.     Processi  deX  1529.     ^S"^^  Appendix  No.  20. 

P  "  Convey  the  wise  it  call." — Merry  Wives  of  Windsor,  Act  I.  so.  iii, 


i88  FAME    AND    FORTUNE 

cealed  in  a  fowl-house,  situated  between  Giomo's 
house  and  that  of  a  neighbour.  On  July  20th,  1529 
(if  the  date  of  the  version  published  in  Milanesi's 
Documenti,  vol.  iii.  p.  no,  be  correct),  Bazzi  ap- 
pealed to  the  Sienese  magistrates  for  restitution 
of  the  property  (as  far  as  may  be  gathered)  un- 
lawfully retained  :  briefly  detailing  the  facts  and 
adding  a  long  list  of  the  missing  articles. 

The  bare  circumstance  that  Bazzi  lay  sick  in 
Florence  about  this  time,  affords  but  a  narrow 
basis  for  the  constructive  criticism  so  freely  in- 
dulged in  by  his  detractors;  and  far  too  much 
stress  has  been  laid  on  the  mere  accident  of  his 
sojourn  in  a  public  hospital  rather  than  a  private 
house.  A  mishap,  followed  by  consequences  to 
the  sufferer  requiring  prompt  medical  or  surgical 
attention,  may  well  result  in  the  stay,  more  or 
less  prolonged,  of  the  most  respectable  in  a  public 
institution  ;  and  since  we  have  no  means  of  ascer- 
taining the  nature  or  duration  of  his  malady,  the 
spiteful  innuendoes  with  regard  to  the  conduct  of 
his  family  or  friends  on  this,  and  on  a  subsequent 
occasion,  are  unfounded  and  unworthy  of  notice. 
Contessa  Priuli  Bon's  ^  conclusions  are  still  more 
beside  the  mark.  If  we  will  bear  in  mind  that 
during  this  period  the  Medici  name  was  in  extreme 

*  Priuli  Bon,  Op.  cit.,  pp.  67-8.  "The  master  was  at  Florence, 
whether  on  business  or  pleasure  we  do  not  know,  and,  falling  ill, 
was  nursed  at  the  hospital  of  S.  Maria  Nuova.  That  the  popular 
painter,  a  welcome  guest  at  many  palaces,  and  known  to  most  of  the 
monastic  communities,  should  be  so  entirely  without  friends  in  the  city 
of  the  Medici  as  to  be  sent  to  a  public  ward  of  the  great  hospital,  is  a 
matter  of  some  surprise.  But  we  have  abundant  evidence  that  Sodoma 
was  not  liked  in  Florence,  and  this  may  largely  accoi;int  for  Vasari's 
biassed  prejudice." 


THE    FLORENTINE   "PALIO"        189 

ill-odour  in  Florence,  the  family  having  been  ex- 
pelled from  the  city  on  May  17th,  1527  ;  and  if  we 
recall  the  fact  that  Bazzi  was  well  known  to  have 
enjoyed  their  special  patronage^  we  can  more  easily 
make  allowance  for  his  friendless  condition, — if 
deserted  he  was. 

But  should  we  not  rather  prefer  a  theory  of  our 
own  to  explain  two  statements  by  our  Aretine 
biographer,  which  would  '^^tv^v  prima  facie  to  defy 
proved  testimony?  Could  the  Palio  of  S.  Barnabas 
— that  incident  so  graphically  described  by  Vasari 
— not  have  brought  about  the  S.  Maria  Nuova 
episode,  with  its  concomitant  results?  In  view 
of  Vasari's  admittedly  fantastic  chronology,  the 
suggestion  that  the  notorious  Palio  and  the  S. 
Maria  Nuova  illness  are  coincident,  certainly  bears 
the  air  of  extreme  likelihood.  Bazzi's  horses  are 
known  ^  to  have  competed, — and  Vasari  says  as 
much, — in  Florence  and  elsewhere,  on  more  than 
one  occasion.  It  does  sound  improbable  that  he 
should  have  been  assaulted,  suffering  grievous 
bodily  hurt,  at  a  date  (15 15-17)  when  he  enjoyed 
favour  at  court,  and  had  virtually  reached  the  zenith 
of  his  social  fame.  On  the  other  hand,  a  citizen  of 
hated  Siena,  and  a  friend  of  the  exiled  Medici  to 
boot,  would  conceivably  receive  short  shrift, — 
especially  as  a  victor, — at  the  hands  of  a  Floren- 
tine mob  at  any  time  between  May  1527  and 
November  1529.  Still  more  would  such  be  the 
case  had  he  been  suspected  of  a  desire  to  jeer  at 
his  public.  In  addition  to  this,  could  it  be  that 
the  authentic  fact  of  our  artist's  illness  in  a  public 

^  Cf.  p.  122  ^  seg.  ante. 


I90  FAME   AND    FORTUNE 

hospital  in  Florence  gave  rise  years  afterwards  to 
the  erroneous  assertion  that  he  actually  died  in 
one  in  Siena? 

To  suggest,  however,  as  Mme  Priuli  Bon  does, 
that  he  was  personally  unpopular  in  Florence 
in  the  ordinary  sense  of  the  term,  is,  we  would 
submit,  reading  into  history  what  is  not  written 
there. 

There  are  no  recorded  facts  to  diametrically 
oppose  or  preclude  the  placing  of  the  Palio  incident 
and  the  sequel  at  S.  Maria  Nuova  in  1^27^',  and 
since  the  original  document  is  no  longer  to  be 
found,  and  the  late  Sig.  Milanesi  himself  is  respon- 
sible for  correcting,  in  his  Cojmnentary  on  Vasari, 
the  date  given  in  his  Docunienti,  we  are  perforce 
left  in  considerable  uncertainty.^  That  Bazzi, 
trusting  to  Medicean  influence,  may  have  entered 
hisyf;/^  Barb,  to  run  in  the  Palio  before  the  sudden 
tumult  drove  his  patron  from  the  city  ;  and  that, 
unluckily  for  him,  he  may — in  all  ignorance, 
or  even  in  bravado — still  have  come  to  fulfil  his 
engagement,  whilst  the  popular  fury  had  not  sub- 
sided, is  quite  possible.  The  injuries  received  on 
this  S.  Barnabas'  day  (June  nth),  though  severe 
enough  to  require  treatment  in  hospital  during  a 

^  A  careful  examination  of  the  records  of  the  Hospital  of  S.  Maria  Nuova 
has  unfortunately  not  brought  anything  to  light. 

2  The  reason  of  Milanesi's  correction  might  be  sought  for  in  the  fact 
that  the  year  1528  was  marked  in  Florence  by  a  serious  visitation  of  the 
plague ;  whilst  the  great  siege  and  the  political  disturbances  preceding 
it  covered  the  following  twelvemonth.  A  legitimate  doubt  would 
therefore  arise  whether  any  public  diversions  could  have  taken  place 
during  these  years.  Although  we  are  bound  to  remember  the  celebrated 
Giuoco  di  Calcio,  played  on  February  14th,  1529,  and  immortalized  by 
Francesco  Domenico  Guerazzi  in  cap.  xxvii.  of  his  work  on  the  Siege  of 
Florence.     See  Hey  wood,  Palio  and  Ponte  at.,  p.  174. 


GIOMO   DEL   SODOMA'S   THEFT    191 

part  of  the  month  of  July,  might  not  have  pre- 
vented his  return  to  Siena  by  the  20th  of  that 
month. ^  Giomo  and  his  companion  were  justified 
in  removing  certain  articles  from  the  studio  "  by 
order"  ;  and  the  suit  for  restitution  was  doubtless 
due  to  their  tardiness  in  restoring  the  property  ;  for 
the  custody  of  which  they  had  selected  so  unusual 
a  receptacle  as  **  a  lean-to  "  fowl-house  with  a  roof 
made  of  rubble.  That  Bazzi  had  neither  been 
absent  long,  nor  had  intended,  when  he  left  home, 
to  be  gone  for  any  lengthy  period,  is  evident  from 
the  circumstance  that  his  pupil  was  entrusted 
with  the  keys  of  the  workshops,  etc.  The  list  of 
things  removed  is  a  curious  one,  and  possesses 
special  interest,  since  it  affords  renewed  evidence 
of  our  artist's  taste  for  sculpture  ;  and  again  points 
indirectly  to  the  early  influences  and  example  of 
Leonardo  da  Vinci.  Similar  herein  to  that  versa- 
tile artist  and  thinker,  Bazzi  preserved  among  his 
treasures  a  work  on  Necrornancy,  and  likewise  a 
manuscript  Treatise  on  Painting,  comprisingadvice, 
notes,  recipes  for  painting  materials,  etc.,  such  as  all 
Renaissance  craftsmen  took  pains  to  compile,  and 
preserve  with  particular  care.^  On  August  6th  in 
that  same  year,  the  question  at  issue  between  master 
and  man  seems  to  have  been  settled,  and  Bazzi 
acknowledged  the  return  of  the  bulk  of  the  articles 
claimed. 

^  His  Duomo  commission  bears  date  August  31st  of  that  year. 

^  The  names  of  two  other  not  uninteresting  personages  occur  in  this 
document.  One  is  Madonna  {^Beatrice)  donna  di  decto  chavalliere,  to 
whose  house  in  Vallerozzi  certain  things  are  said  to  have  been  taken ; 
and  the  other  is  Niccolb  spadaio  suo  cognato  (Bonelh),  the  second 
husband  of  Giomo's  sister  Elisabetta.     ^&t,  post,  p.  240. 


192  FAME   AND   FORTUNE 

In  the  absence  of  the  document,  setting  the  point 
of  date  finally  at  rest,  the  events  above  described 
may  just  as  well  have  occurred  in  i^zj  as  in  i^sg  ; 
but  we  possess  no  record  of  work  done  in  1528,  and 
it  is  not  until  the  year  1529  is  drawing  to  a  close, 
that  we  stand  once  more  on  the  firm  ground  of 
written  testimony. 

On  August  20th  and  September  2nd  of  this  year 
(1529)^  we  find  the  Sienese  authorities  sentencing 
six  butchers,  whose  names  are  set  forth  at  length, 
to  pay  certain  amounts  in  fines  as  the  penalty  for 
their  ill-doing ;  which  sums  are  to  be  set  apart  for 
the  decoration  of  the  Sala  delle  Balestre  in  the 
Palazzo  Comunale. 

The  work  of  the  most  celebrated  Early  painters 
of  the  Sienese  school  had  long  decorated  the  walls 
of  this  great  Hall — known  also  by  the  name  of 
''  II  Mappamondo''\  but  a  considerable  period  had 
elapsed  since  the  completion  of  the  last  frescoes. 
We  can  only  hazard  a  guess  at  the  motives  which 
induced  the  Sienese  authorities,  after  a  lengthy 
interval,  to  decree  the  renewal  and  completion  of 
their  palace  decoration ;  and  no  certain  dates  are 
available  until  April  5th,  when  Beccafumi  was 
commissioned  to  decorate  the  Council  Chamber 
(Sala  del  Concistoro),  with  a  ceiling  still  to  be  seen 
there,  which  pleased  Vasari  exceedingly.^ 

^  Archivio  di  Stato  di  Siena.  Scritture  Concistorialt,  ad  annum  : 
3oAgosto,  and  2  Settembre,  1529. 

^  Archivio  detto.  1529,  5  Aprile.  Rogiti  di  Ser  Sigismondo 
Trecerchi,  Filza  i,  No.  221. 

•  ^  Vasari,  Oj>.  cit.,  vol.  v.  p.  640.  Milanesi  observes  here  (note  2) 
that  this  work  was  not  completed  until  1535,  so  that  even  Beccafumi 
did  not  hurry  his  labours. 


PALAZZO    PUBBLICO  193 

The  volumes  of  the  Corporation  Contracts  and 
Resolutions  (Scritture  and  Deliberazioni  Concis- 
toriali)  contain  a  number  of  entries  concerning 
Bazzi's  work:  notices  of  payments  made  on  account, 
and  directions  of  various  sorts.^  Although  con- 
tinual reference  is  made  to  the  San  Vittorio  fresco,^ 
two  notices  only  record  San  Ansano.  As  the  first 
of  these  two  is  of  no  slight  importance,  it  is  advis- 
able to  quote  the  entry,  dated  August  31st,  in 
extenso^  translated  as  follows  : 

1529.  Item.  A  commencement  has  been  made  in  the 
Hall  of  the  Balestre  for  the  painting  of  two  beautiful 
figures — that  is  to  say,  one  of  S.  Vittorio,  and  the  other 
of  S.  Ansano,  by  the  hand  of  Sodoma  ;  and  for  such  work 
he  has  been  given  already  nine  scudi — that  is  to  say,  sixty- 
three  lire.     It  will  be  well  to  carry  the  work  to  its  end. 

If,  then,  we  should  place  Bazzi's  illness  in  this 
year,  these  paintings  must  have  been  commenced 

1  It  is  amusing  to  note  that  on  one  occasion  (Oct.  29th,  1529)  the 
treasurer,  the  Magnificus  Lapus,  not  having  any  ready  money,  pawned 
the  silver  necklace  of  "  //  Capitaneus  Cuiciis  "  in  order  to  pay  the  artist 
70  lire. 

2  Langton  Douglas  (History  of  Siena  a'f.,  p.  404)  suggests  that  this  Saint 
was  chosen  to  commemorate  the  battle  of  Camollia.  The  connection, 
however,  is  scarcely  "■obvious"  for  nearly  three  years  had  elapsed  before 
this  work  was  even  contemplated.  Nevertheless  the  reader  may  be 
recommended  to  study  Mr.  Douglas'  graphic  and  stirring  account  of  the 
events  of  this  period.  But  his  suggestions,  both  as  regards  this  painting 
and  the  Madonna  di  S.  Caiisto,  though  worth  consideration,  are  not 
final.  See  Giovanni  Antonio  Pecci,  Raccolta  Universale  di  tutte  P 
iscrizioni  arme  e  altri  Monumenti  esistenti  nel  3"  de  S.  Martino  fino  a 
questo  presente  anno,  1730.  Libro  secondo.  MS.  Biblioteca  Comunale, 
Siena.    Pecci,  Op.  cit.,  p.  140'-,  calls  the  figure  S.  Galgano. 

^  Archivio  detto.  Scritture  Concistoriali,  Filza  41.  Not.  ai  Succes- 
sori  della  Signoria  del  detto  anno.  "  1529.  Item  se  e  dato  principio  nella 
Sala  delle  Balestre  far  dipingere  due  belle  figure  ciob  una  di  Sancto 
Vectorio,  e  1'  altra  di  Sancto  Ansano  per  le  mani  del  Sodoma,  e  per 
tale  opera  si  li  e  dato  gik  scudi  nove,  ciob  lire  sesanta  tre.  Sara  bene 
mandarla  a  fine." 

13 


194  FAME  AND   FORTUNE 

at  some  date  in  the  spring.  That  vS.  Vittorio 
was  nearing  completion  in  August  is  shown  by 
the  fact  that  on  September  21st  Beccafumi  and 
Bartolommeo  di  David  ^  are  summoned  to  value 
the  work.^  The  estimates  both  of  Beccafumi  and 
his  colleague  seem  to  have  failed  to  satisfy  the 
parties ;  and  Baldassare  Peruzzi  was  called  in  on 
September  26th  to  arbitrate.^  The  Signoria, 
however,  in  spite  of  differences,  did  not  with- 
hold their  patronage  from  the  artist,  for  in  that 
selfsame  September  entry  we  find  the  Corporation 
— acting  apparently  at  the  instance  of  Francesco 
Tolomei,  then  "  Operaio''  (Director  of  the  Fabric  of 
the  Duomo) — commissioning  another  painting  for 
the  same  room  :  i.e.  a  figure  oi  i\iQ  Blessed  Bernardo 
Tolomei,  his  famous  ancestor.*  The  5".  Ansano 
fresco  meanwhile  appears  to  have  remained  un- 
completed so  late  as  the  following  February.^  No 
greater  diligence  marked  the  progress  of  the  B. 
Bernardo  painting,  which,  were  it  owing  to  delay 
in  the  payments  on  account,  or  to  wilful  procrasti- 
nation on  the  artist's  part,  was  not  finally  concluded 

^  Concerning  Bartolommeo  di  David,  Milanesi  quotes  a  number  of 
entries.  He  appears  to  have  been  the  founder  of  a  family  of  painters 
who, — while  none  were  artists  of  first-rate  distinction, — yet  all  enjoyed  a 
certain  measure  of  public  recognition.  His  daughters,  Medea  and  Giulia, 
married  respectively  the  painters  Michelangelo  d'  Antonio  called  lo  Scala- 
brino  and  Antonio  di  Michelangelo  Passalacqua.  This  master  was 
summoned  on  another  occasion  to  value  work  by  Bazzi  in  the 
Cappella  di  Piazza. 

2  Archivio  detto.  Scritture  Concistoriali,  21  e  23  Settembre,  1529. 
Cf.  also  Concistoro  Deliberazioni,  vol.  978,  fol.  13,  21  Settembre,  1529. 
Mil.  Doc,  vol.  iii.  p.  112. 

^  AKcnwio  deiio.  Scritture  e  Deliberazioni  dettiioX.  15,26  Settembre, 
1529.     (Three  entries.)    Nuovi  Documenti  cit.  i  p.  447. 

'*  Not  S.  Benedict,  as  Vasari  {Op.  cit.,  p.  391)  states. 

''  Archivio  detto.  Scritture  detti,  28  Febbraio,  1529-30. 


Photo :  Aliuayi. 


S.    VITTORIO. 

PALAZZO    PUBBLICO,    SIENA. 


To/accp,  194. 


.Ji^rnAatyA,.  ybA,^/?'. 


BAZZrS   FRESCOES  195 

until  1533.^  These  paintings,  like  all  Bazzi's  single 
figures  and  simpler  compositions,  are  very  fine. 
Especially  is  this  the  case  with  the  S.  Vittorio, 
whose  head  is  one  of  the  most  virile  and  forcible 
types  he  ever  conceived  ;  while  in  the  Blessed  Ber- 
nardo, with  his  long  white  beard,  we  have  the  most 
spiritually  impressive  presentment  of  a  venerable 
saintly  personage.  The  attendant //^///^  are  alive 
with  that  innocent  charm  and  infantine  playfulness 
that  Giovan-Antonio  so  well  knew  how  to  create. 
But  the  weak  point  in  these  frescoes — a  fault  to 
which  attention  has  been  drawn  by  several  writers 
— is  that  our  artist,  in  straining  after  realism,  has 
sacrificed  that  restraint  so  essential  to  wall  decora- 
tion. He  was  not  called  upon  to  suggest  that  vS. 
Vittorio  is  stepping  down  in  person  from  his  niche; 
or  that  the  catechumen,  whom  vS.  Ansano  is  bap- 
tizing, is  a  live  penitent  kneeling  before  the  Saint. 
Somewhere  about  this  period,  probably,^  Bazzi 
executed  one  of  the  loveliest  among  his  numerous 
Holy  Fmnilies — painted  for  the  altar  of  S.  Calixtus 
in  the  Duomo ;  now  set  up  in  the  Chapel  of  the 
Palazzo  Pubblico,  close  beside  the  frescoes  just 
described.     Alfonso  Landi  in  his  Racconto,  etc.,* 

^  Or  even  owing  to  political  disturbances ;  for  it  was  in  1530  that 
the  inroads  of  the  Spanish  troops  into  Sienese  territory  commenced. 
Cf.  Langton  Douglas,  Op.  cii.,  p.  219. 

^  Those  above  the  Blessed  Bernardo  are  represented  with  the  Sienese 
wolf,  and  may  be  paralleled  with  those  above  Roxana's  couch  in  the 
Farnesina,  and  over  the  altar  of  the  chapel  of  the  Contrada  del  Oca,  in 
S.  Catherine's  House,  Siena. 

^  Meyer  {Op.  at.)  would,  however,  place  it  much  earlier — in  1516-17. 
Here  we  cannot  agree  with  that  able  critic.  The  work  is  too  matured 
for  so  early  a  date,  and  the  landscape  and  composition  resemble 
closely  other  work  of  this  period. 

*  Landi,  Op.  «/.,  L.  IV.  13,  p.  24:  L.  IV.  14,  p.  138. 


196  FAME   AND    FORTUNE 

gives  a  full  account  of  this  beautiful  work,  which 
in  his  day  still  filled  the  place  for  which  it  was 
painted;  and  it  should  be  especially  noted  in  this 
connexion,  since  many  writers — including  even 
Frizzoni — have  here  gone  astray,  that  he  dis- 
tinctly describes  the  saint,  represented  holding 
the  fetters,  as  wS.  Leonard}  and  not  S.  Calixtus. 
This  picture,  together  with  its  beautifully  carved 
frame,  was  removed  from  the  Duomo  to  the 
Palazzo  in  i68i,^  to  replace  a  painting  by  Simone 
Memmi,  that,  (according  to  Pecci,^)  formerly  hung 
there. 

Siena  had  by  this  time  fallen  under  Spanish 
control,  and  an  Imperial  Vicar  ruled  the  town  in 
the  name  of  the  Emperor  Charles  V.  The  invaders 
appear  to  have  had  their  national  chapel  *  in  the 
Dominican  Church  of  S.  Spirito;  and  our  artist  was 
occupied  theresimultaneously  with  thecompletionof 
the  frescoes  in  the  Palazzo  Pubblico.  The  S.  Spirito 
workconsistsof  agreat  tympanum  painted  in  fresco, 
in  which  the  patron  saint  of  Spain,  S.  James,  on 
horseback,  slaughters  the  infidel  Saracen.  Two 
shields  on  either  side  display  the  arms  of  Spain 
and  the  Empire ;  while  below  these  stand  the  figures 

^  This  same  Saint  is  to  be  met  with  elsewhere  in  paintings  by  Bazzi 
and  his  School. 

2  Milanesi  (Vasari,  Op.  cit.,  p.  393,  note  2)  says  that,  according  to  some 
authorities,  this  removal  took  place  in  1704 ;  but  no  reason  has  yet  been 
discovered  for  the  change. 

^  Pecci.,  Op.  cit.,  p.  148.  He  does  not,  however,  tell  us  what  was  the 
subject  or  whither  it  went. 

^  An  epitaph,  supported  by  two  angels,  on  the  wall  of  this  chapel, 
quoted  by  Pecci,  (Op.  cit.,  p.  70,)  runs  as  follows: — "D.O.M.  Ferdinando 
Alvarez  de  Soto  Mayor,  nobili  Hispano  in  Jura  Clariss.  Licentiato, 
eximiae  continentiae  Viro  Senis  Justitige  Prefecto  decessit  An.  Sal.  1556, 
7  Kal.  Octob.     Amicorum  eximia  pietas  posuit." 


Of 


^ 


Photo :  Aliiiari. 


S.    SEBASTIAN. 
DETAIL. 

SPANISH   CHAPEL,    CHURCH  OF  S.    SPIRITO,    SIENA. 


To  face  f>.  197. 


THE  SPANISH  CHAPEL  197 

of  SS.  Sebastian  and  Anthony  Abbas.  Framed 
within  this  larger  composition,  and  immediately 
over  the  altar,  are  the  following  paintings  on  panel: 
S.  Nicholas  of  Tolentino  and  S.  Michael  (on  either 
side  of  an  indifferent  modern  picture  of  S.  Rosa) ; 
whilst  above,  in  another  lunette,  the  Madonna, 
attended  by  SS.  Lucy  and  Cecilia,  is  investing 
S.  Alfonso  (Ildefonso)  with  a  Bishop's  robes.  We 
g^ather  from  the  records^  that  the  SS.  Sebastian 
and  Anthony  were  painted  by  Jan.  20th,  1529-30, 
and  the  panel  lunette  by  the  following  April  i6th. 
No  record  has  been  traced  concerning  the  other 
works ;  but  we  learn  that  our  artist  was  paid 
four  florins  {picholi)  for  S.  Anthony,  and  six  for 
S.  Sebastian  ;  the  latter  having  been  painted 
apparently  at  the  express  wish  of  the  Prior,  Fra 
Timotheo  de  Ricci.  A  pen-and-ink  sketch  for  this 
figure — which  may  profitably  be  compared  with 
the  more  celebrated  presentment  of  that  saint  in 
the  Uffizi — is  preserved  in  the  Beckerath  Coll. 
in  the  Royal  Museum  at  Berlin.  Likewise,  2i  first 
idea  for  the  S.  James'  tympanum  is  to  be  found 
in  the  Uffizi  portfolios  (No.  1937).  It  is  but  a 
faint  outline  sketch,  in  red  chalk ;  but  in  a  certain 

^  Archivio  detto.  Archivio  del  Patrimonio  de^  Resti.  Carte  del 
Convento  di  S.  Spirito,  Reg.  H.  vii.  Quinterno  di  Ricordi  della  Sagrestia 
e  della  Chiesa  di  S.  Spirt  to  cominciato  nel  1517,  p.  332*- 

1529.  Ricorddo  chome  addi  xx  di  gennaio  1529  more  ordinario  el  pre- 
decto  sagrestano  face  fare  alia  chappella  degli  Spagniuoli  uno  S*°'  Ant°- 
dipingelo  el  chavalieri  al  quale  dicte  R.  (fior.) :  4  plj.  (picholi)  laus  deo. 

Ricorddo  come  addi  decto  el  padre  priore  fra  Timotheo  de  Ricci  fece 
dipignere  uno  Santo  Sebastiano  nella  cappella  degli  Spagnuoli  e  dipinge 
lo  e  sopra  dicto  laus  deo  e  costb  R.  (fior.) :  6  di  picoli. 

Ricordo  come  addi  xvj  d'aprile  1530  simisse  alia  chappella  degli 
Spagnuoli  uno  mexo  tonddo  drentovj  la  vergine,  S*°-  Alfonso,  Sta.  Cecilia 
e  Sta.  Lucia  et  2  angeli  dipissegli  et  sopra  decto  cavalieri  laus  deo. 


198  FAME  AND    FORTUNE 

sense  the  patron  saint,  depicted  standing,  is  a  more 
restrained  and  imposing  figure  than  the  galloping 
warrior  now  shown  in  the  finished  work.^  Delia 
Valle^  tells  us  that  this  boldly  conceived  horseman 
gave  great  satisfaction  at  the  time ;  and  so  pleased 
the  Emperor,  when  he  visited  Siena  six  years  later, 
that  he  said  he  w^ould  be  "willing  to  exchange  all 
his  cavalry  for  that  one  horse."  This  expression 
of  admiration  on  the  Emperor's  part  appears  to 
have  given  birth  to  the  tradition  of  a  spontaneous 
Imperial  grant  of  the  title  oi  Count  Palatine  to  Bazzi. 
In  connexion  with  the  Spanish  invaders  and 
their  chapel,  we  should  here  quote  the  story  as 
told  by  Armenini,^  without  which  no  Life  of 
Bazzi  would  be  complete.  Milanesi''  abridges  the 
anecdote  as  follows  : — 

Giovannantonio  had  one  day  been  grossly  insulted  by 
a  Spanish  soldier  belonging  to  the  garrison  of  the  city, 
and  being  unable  to  revenge  himself  because  of  the 
number  of  his  companions  around  him,  looked  at  him 
attentively,  and  then  returning  home  drew  his  portrait 
from  memory  with  lifelike  features  and  colouring.     Then 

^  The  chapel  was  restored  in  1800  by  Liborio  Guerrini. 

2  Delia  Valle,  Op.  cit,  p.  273  :  "  Vogliono  alcuni  Sanesi,  che  capitatO 
in  Siena  Carlo  V.,  e  condotto  a  vedere  questa  pittura,  dicesse  che  egli 
volentieri  avrebbe  cambiata  in  quel  cavallo  tutta  la  sua  cavallerizza. 
Tanto  egli  h  ben  disegnato  ed  ^  bello  e  fiero." 

^  Armenini,  Oj>.  cit.,  p.  27.  This  story  adds  one  more  proof  of  Bazzi's 
skill  in  portraiture.  A  further  value  is  conferred  upon  it,  inasmuch  as 
Armenini  here  tells  us  that  he  himself  was  intimately  acquainted  with  a 
personal  friend  of  the  artist,  who  spoke  of  the  high  honour  that  he 
enjoyed  in  his  lifetime  among  the  best  society  in  Siena.  Armenini's 
work  appeared  in  1578 — oxA^  thirty  years  after  Bazzi's  decease — whilst 
the  Pompe  Sanesi  and  the  notorious  Dennunzia  did  not  see  the  light 
until  1649  :  seventy  years  later. 

*  Vasari,  Op.  cit.,  p.  393,  note  i.     See  Appendix  No.  22. 


''THE    ASSUMPTION"  199 

presenting  himself  to  the  Spanish  Governor/  he  laid 
before  him  the  circumstances  and  demanded  justice.  The 
Governor  asked  who  the  offender  was,  and  he  then  pro- 
duced the  portrait  from  under  his  cloak,  saying,  as  he 
presented  it,  "  Sir,  here  is  his  face  :  I  cannot  tell  you  any 
more.  The  Governor  and  those  around  him-  at  once 
recognised  the  soldier  who  had  deserved  punishment. 
Such  an  event  pleased  the  painter,  since  it  was  the  occa- 
sion of  gaining  him  favour  with  the  Governor  and  the 
other  gentlemen,  from  whom  he  secured  help,  favour,  and 
support.  Armenini  assures  us  that  he  had  heard  this  tale 
related  by  an  old  Sienese  who  had  been  a  very  intimate 
friend  of  the  celebrated  artist. 

In  1532  Bazzi  completed  the  work  commenced 
many  years  before  for  the  Compagnia  di  S.  Bernar- 
dino ;  designing  for  them  an  A ssumption  of  the 
Virgin.  A  comparison  of  this  beautiful  fresco 
with  the  rest  of  the  series  painted  in  1518^  marks 
at  once  the  advance  the  artist  had  made  in  force 
of  composition,  and — when  he  chose — of  restraint 
in  design.  In  spite  of  the  awkward  shape  of  the 
panels — a  circumstance  which  had  already  seriously 
hampered  him — he  succeeded  in  producing  a  most 
graceful,  and  yet  impressive,  re-enactment  of  this 
passage  in  the  Life  of  the  Madonna.  A  large 
number  of  nearly  lifesize  figures  necessarily  fill 
the  stage;  but  the  appearance  of  crowding,  so 
irritatingly  prominent  in  his  earlier  work,  is  here 

*  Romagnoli  states  that  the  Governor  at  this  period  was  Giovanni  di 
Luna  (?). 

^  Archivio  di  Stato.  Carta  della  Compagnia  di S.  Bernardino,  1532, 
1 6  Giugno.  It  may  be  observed  that  the  last  payment  recorded  is  only 
two  ducats ;  so  that  it  is  to  be  presumed  that  other  sums  had  been  paid 
to  the  master  previously,  of  which  no  record  now  exists.  Cf.  Appendix 
No.  15. 


200  FAME    AND    FORTUNE 

successfully  avoided.  The  Mother  of  God,  a  con- 
ception of  ideal  loveliness,  is  borne  aloft  on  light 
clouds  swarming  with  joyous  cherubs  ;  whose  glee, 
instinct  with  naive  grace,  is  wholly  free  from  the 
street-arab  mirth  that  disfigures  the  putti  in  the 
earlier  Coronation.  Beneath  the  Celestial  Vision 
the  awestruck  Apostles  are  grouped  with  great 
judgment  and  effect,  and  the  types  chosen  for  each 
are  suitable  and  expressive  of  their  special  individu- 
ality. This  is  in  a  sense,  perhaps,  one  of  the  most 
pleasing  and  satisfactory  among  all  Bazzi's  com- 
positions, but  scarcely  obtains  the  notice  it  deserves. 
The  subdued  tone  of  the  colouring  has  deadened 
somewhat — a  condition,  however,  that  scarcely 
detracts  from  the  general  beauty.^ 

In  the  autumn  of  1526,  the  Signoria  of  Siena — 
with  a  more  plausible  motive  for  their  act  than  in  an 
instance  referred  to  above — determined  to  signalize 
their  victory  over  their  enemies,  by  adorning  all 
the  gates  of  the  city,  which  so  far  had  remained  un- 
decorated,  with  representations  of  the  Virgin  Mary, 
their  Heavenly  Guardian  and  Mistress.  To  this 
end  they  passed  a  resolution  on  October  25th,^ 
empowering  a  number  of  their  body  to  carry  out 
this  votive  work;  and  certain  taxes  and  fines  due  to 

^  It  is  at  about  this  period  that,  venturing  to  differ  from  Dr.  Frizzoni, 
— who,  by  the  way,  has  mistaken  the  subject  {Op.  cit.,  p.  i68,  note), — 
we  should  date  the  very  beautiful,  but  sadly  injured,  fresco  of  the 
Ascension  in  the  Sozzini  (now  Fieri)  chapel  of  the  Collegiata  at 
Trequanda.  The  easy  grace  of  the  Saviour  ascending  to  heaven,  and 
many  of  the  leading  characteristics  expressed  by  the  group  below, 
strongly  recall  this  Assumption.  It  therefore  may  reasonably  be  con- 
sidered contemporary  with  the  more  famous  work. 

'  Archivio  detto.  Deliberazioni  di  Balia^  vol.  Ixxi.  fol.  i6.  25  Ott. 
1526.    Cf.  Appendix  No.  23. 


%>!    'yfyH.!^Ar&^ra. 


'.■■■;Z}?r^y>  d/^  Q)..yfJ£Y^^a^i/^. 


Uyiz^ C).ce/iM- 


PORTA    PISPINI  20I 

the  Commune  were  set  apart  to  defray  the  expenses. 
It  is,  however,  not  until  September  12th,  1528,^ 
that  the  first  reference  to  the  Porta  S.  Viene 
occurs  ;  and  then  only  in  connexion  with  repairs  to 
the  gate  in  prevision  of  the  impending  decoration. 
A  notice  in  1530^  records  a  sum  of  125  florins 
entrusted  to  the  hands  of  Giovanni  Palmieri,  Ber- 
nardino di  Filippo  Buoninsegni,  and  Girolamo 
Paccinelli,  Commissioners  of  the  Office  of  Works, 
towards  defraying  the  cost  of  the  paintings  :  seem- 
ingly an  inadequate  amount,  since  another  decision, 
dated  June  13th,  1531,^  proves  that  the  work  was 
then  still  far  from  completion.  A  resolution  of 
April  3rd,  1 532, '^  at  last  records  the  final  settlement ; 
through  the  payment  of  10  scudi  to  the  painter, 
Giovanni  Antonio  Bazzi — who  (says  Milanesi)  had 
commenced  his  work  in  1530.  The  foregoing  reso- 
lution also  provides  money  for  the  construction  of 
a  pent-house  to  protect  the  painting  from  wind  and 
weather  :  a  precaution  which  has,  alas  !  not  availed 
to  save  the  lower  portion  of  the  composition.  This 
circumstance  is  the  more  unfortunate,  since  thereby 
another  of  the  portraits  of  the  painter,  noted  by 
Vasari, — as  ''an  elderly  7nan  with  a  beard,'' — is 
lost  to  us,  together  with  a  long  votive  inscription.^ 

^  Archivio  detto.  Deliberazioni  di  Balia^  vol.  Ixxviii.  fol.  85*-  12 
Sett.,  1528. 

2  Archivio  detto.     Concistoro  Scritture,  1530.     Notula. 

^  Archivio  detto.  Deliberazioni  di  Balia,  vol.  Ixxxiv.  fol.  131.  13 
Giugno,  1 53 1. 

^  Archivio  detto.  Deliberazioni  di  JBalia,  vol.  Ixxxvii.  fol.  122.  3 
Aprile,  1532. 

^  Vasari,  Op.  cit.,  p.  395  and  note.  According  to  Vasari's  reckoning, 
Bazzi  would  have  been  52  at  this  date,  which  seems  scarcely  gid,  vecchio. 
As  a  matter  of  fact  he  was  about  two  years  older. 


202  FAME    AND    FORTUNE 

The  painter  held  a  brush  in  his  hand,  together 
with  a  label,  bearing — not  the  word  feci,  as  Vasari 
states,  hwi  fac  tu  {''Match  this  if  you  can''). 
The  inscription,  however,  quoted  from  Pecci  by 
Milanesi,  runs  as  follows:  Deiparae  Virgini pro 
victoria,  libertate  et  salute  hujus  urbis,  populus 
senensis  ejus  nomini  devotus,  a.d.  MDXXXI. 
The  composition  is  a  large  and  striking  repre- 
sentation of  the  Nativity,  and  the  remains  which 
time  has  spared  are  extremely  beautiful.  They 
serve  only  to  enhance  the  sense  of  our  loss.  The 
attendant  choir  of  angels,  poised  in  the  air  with 
indescribable  lightness  and  grace,  bearing  aloft  a 
ribbon  scroll  with  the  words  Gloria  in  Excelsis 
Deo,  is  peculiarly  felicitous  both  in  grouping  and 
effect.  In  the  centre  of  the  arch,  in  the  best 
preserved  part  of  the  composition,  we  notice  under 
the  pent-house  a  small  putto ;  on  either  side  of 
which  are  groups  of  exceedingly  beautiful  angels, 
whose  faces  for  pure  loveliness  equal  anything 
hitherto  painted  by  our  artist.  The  beautiful 
fragment  of  a  putto,  underneath  the  right-hand 
group,  is  unsurpassed  even  by  Raphael  himself; 
whose  work  it  distinctly  recalls.  Barely  a  quarter 
of  a  century  ago,  the  greater  portion  of  the  lower 
half  of  this  fresco,  together  with  the  inscription 
and  several  figures,  were  still  visible.  Alas  !  timely 
protective  measures,^  which  might  to  some  extent 

1  According  to  Delia  Valle(6>/.  «V.,  p.  2 78),  the  Grand  Duke  Cosimo  III. 
desired  to  remove  this  fresco  to  a  place  of  safety,  but  was  deterred 
therefrom  by  the  size  and  thickness  of  the  wall.  He  also  records  on 
the  same  page  that,  among  the  collection  of  drawings  belonging  to 
Abate  Ciaccheri,  there  was  a  sketch  for  one  of  the  angels.  This  sketch 
has  unfortunately  disappeared. 


I'lioto  :  lid>iin7id  Houghton. 


HEAD   OF   AN   ANGEL. 
DETAIL. 

POUTA    PISI'INI,    SIENA. 


To /ace  f:  202. 


o  g 
< 

H 
W 
Q 


-MADONNA    DE'  CALZOLARI"       203 

have  saved  for  us  this  priceless  work  of  art,  were 
not  devised  until  1899.^ 

Before  concluding  this  chapter,  one  more  paint- 
ing must  be  mentioned  ;  the  existence,  or  rather  the 
memory  of  which  is  marked  only  by  a  patch  on  a 
wall.  This  fresco,  in  a  side  street  off  the  Piazza 
Tolomei,  near  the  church  of  S.  Cristoforo,  is  a 
work  that  the  weather,  the  smoke  of  a  forge,  and 
the  recent  deliberate  scraping  of  the  wall  at  the 
hands  of  the  ruthless  landlord  (under  pretence  of 
restoration),  have  reduced  to  an  unsightly  wreck, 
more  than  half  concealed  under  a  wire  netting. 
This  ghost  of  the  Madonna  de  CalzolarP  is  de- 
scribed as  follows  :  "  The  Madonna  with  her  Son 
in  her  arms,  SS.John,  Francis,  Roch,  and  Crispin, 
patron  of  the  men  of  this  trade,  with  a  shoe  in 

^  Since  the  asseverations  made  by  recent  writers  concerning  the  name 
of  this  gate  and  its  origin  are  so  contradictory,  a  note  on  its  history  will 
not  be  out  of  place  here.  Called  originally  Porta  Sta.  Eugenia,  from  the 
little  chapel  dedicated  to  that  saint  not  very  far  beyond  it,  it  is  so 
denominated  in  some  of  the  documents  quoted  here.  When,  however, 
in  1 1 07  the  body  of  the  martyred  Ansano  was  brought  to  the  city  from 
Dofana,  the  populace  of  Siena,  awaiting  the  procession  at  this  gate, 
cried  out  '*  il  santo  vtene  "  {the  saint  comes).  Hence  the  name  of  Porta 
del  Santo  Vtene,  or  Porta  San  Viene,  which  it  is,  as  often  as  not,  still 
officially  styled.  On  June  23rd,  1534,  however,  the  Contrada  dell' 
Abbadia  Nuova,  wherein  the  gate  is  situated,  asked  leave  from  the 
Signoria  (Archivio  detto:  Balia,  Deliberazioni,  vol.  xci.  f.  149'',  150) ; 
to  beautify  the  main  street  by  the  erection  of  a  fountain,  which  was 
vulgarly  called  Fonte  Pispini.  This  name  was  soon  applied  to  the 
street  leading  from  thence  to  the  gate,  and  subsequently  to  the  gate 
itself.  Cf.  also  Pecci  {Op.  cit.),  who  differs  from  the  usual  derivation 
of  the  name  San  Viene,  and  adds  that  above  the  fresco  was  the 
word  Libertas,  and  on  either  side  the  Balzana  and  the  Lion  Rampant. 
By  a  fortunate  chance  the  author  was  able,  in  January  1899, 
to  examine  the  work  at  close  quarters,  and  was  much  struck  by  the 
peculiar  cross-hatching,  designed  to  produce  the  effect  of  shadow  on  the 
angels'  faces. 

^  Vasari,  Op.  cit.,  pp.  390-1,  and  note  i. 


204  FAME    AND    FORTUNE 

his  handy  It  was  ordered  on  May  3rd,  1530/  and 
Vasari  adds  that  '*  as  much  the  heads  as  the  whole 
work  was  very  good."^  **  Remembrance  of  what 
has  been — unreal  likenesses  of  lovely  shapes,  that 
were  and  are  not  " — is  now  all  that  remains  to  us 
of  this  painting. 

^  Arch.  Not.  Prov.  Siena.  Maggio  3,  1530.  Rogiti  di  Ser  Galgano 
Faleri.  It  is  to  be  noted  that,  although  this  document  records  the 
decisions  of  the  Guild  with  regard  to  the  ordering  of  this  work,  there  is 
no  allusion  whatsoever  to  the  painter  chosen  to  execute  it. 

2  Vasari,  Op.  cit.,  p.  391  :  "  nelle  teste  delle  guaii figure  e  nel  resto,  si 
porto  Giovann'  Antonio  bejiissijno"  Delia  Valle  also  praises  this  fresco ; 
but  Romagnoli  {Op.  cit.),  in  whose  day  much  of  it  was  still  to  be  seen, 
says  that  it  was  by  no  means  fine  and  beautiful.  Perhaps  even  then 
it  had  been  already  injured  and  repainted. 


CHAPTER   IX 

FINAL   PERIOD 

The  Signoria  of  Siena,  elated,  it  would  seem,  by 
their  victory  over  the  armies  of  the  Pope  and  the 
Florentine  Republic  at  the  Battle  of  Camollia,  now 
proceeded  to  plan  a  number  of  ambitious  projects 
incommemorationof  their  success:  projects  rendered 
nugatory  in  almost  every  case,  through  lack  of 
means  ;  and  many  of  which  appear  to  have  lain  idle 
during  a  decade  at  least.  On  November  25th,  1527, 
we  find — among  the  '' Deliberasioni  della  Balia  ^ — 
a  resolution  decreeing  that  the  ancient  Chapel  at  the 
foot  of  the  Torre  del  Mangia  of  the  Palazzo  Pub- 
blico  be  restored  and  adorned  with  a  new  fresco  ; 
and  the  subject  chosen  was  the  Virgin  and  Child 
with  SS.  Ansano,  Vittorio,  Agostino  and  Jacopo ; 
with  God  the  Father  above  surrounded  by  a  glory 
of  Angels. 

Work  had  been  carried  on  here  at  intervals 
extending  over  a  century.  The  chronicle  of  Andrea 
Dei^   relates,  that  the  chapel  was  commenced — 

^  Cf.  Appendix  No.  24. 

^  Cronaca  di  Andrea  Dei  continuata  da  Agnolo  di  Tura.  Muratori, 
Rerum  Italicorum  Scripia,  vol.  xv.  Milanesi  MS.,  P.  iii.  53,  p.  346. 
Cappella  di  Piazza,  1 348.  "  Et  in  quest'  anno  per  certo  miracolo  che 
la  Nostra  Donna  Vergine  Maria  fece,  si  comincio  la  Cappella  del  Campo 
sotto  la  torre,"  etc.  Pecci  {Op.  cit.,  p.  118')  states  that  it  was  dedicated 
in  honour  of  the  Nativity  of  the  Madonna ;  was  designed  by  Duccio,  and 
the  frieze  and  arch  were  added  by  Francesco  di  Giorgio,  He  tells  us 
further  that  it  was  adorned  with  the  three  shields  of  the  city,  and  that 

205 


2o6  FINAL   PERIOD 

together  with  a  number  of  other  churches  and 
places  of  worship — in  1348,  to  commemorate  a 
miracle  performed  by  the  Virgin  during  the  Great 
Plague  of  that  year.  Neri  di  Donato/  however, 
tells  us  that  the  construction  was  not  actually 
begun  until  June  1352  ;  and,  according  to  Sig.  F. 
Donati,  the  building^  was  probably  designed  by 
Domenico  d'  Agostino,  stone-mason  and  architect, 
who  at  that  date  was  Clerk  of  the  Works  to  the 
Opera  del  Duomo.^  On  June  i8th,  1369,  the 
Consiglio  della  Campana  directed  that  the  Rector 
of  the  Opera  should  expend  from  the  funds  of  that 
Institution  100  gold  florins  annually,  from  July  ist 
onwards  until  the  building  be  completed.  We 
learn  also  that  between  July  1352  and  April  1376 
the  walls  had  been  pulled  down  no  less  than  four 
times. ^ 

the  inscription  "  In  honorem  B.  Marice  Virginis  Jo.  Antonius  cognomento 
Sodoma  Eques  cotnesqiie  Palatiniis faciebat  MDXXXVIII''^  was  painted 
beneath  Bazzi's  fresco.  We  may  learn  from  these  statements  how  far 
Pecci — valuable  though  his  researches  are — may  be  relied  upon  as  a 
final  authority. 

1  Annali  Senesi  o  Cronica  di  Neri  di  Donato^  dal  1352  al  1381. 
Muratori,  Op.  cif.,  vol.  cit.  Cappella  di  Piazza.  "  1352.  La  Cappella  del 
Campo  a  pie  la  torre  si  comincioro  e'  fondamenti  del  mese  di  luglio,  e  li 
Signori  Nove  missero  fiorini  due  d'  oro  ne'  fondamenti,  e  quando  si  fondb, 
stbrovi  accesi  li  doppieri,  e  fu  titolata  a  Madonna  S.  Maria  di  Settembre. 
1376.  Le  more  della  Cappella  a  pie'  della  torre  del  Campo  di  Siena  si 
cominciorno  a  murare,  che  prima  erano  state  guaste  quattro  volte  in 
24  anni  che  si  erano  cominciate  in  piu  modi  di  marmo,  e  questo  fu  d' 
Aprile." 

2  F.  Donati,  //  Palazzo  del  Comune  di  Siena  (Arte  Antica  Senese. 
Published  by  the  Commissione  di  Storia  Patria.   Siena :  Sordomuti,  1904). 

^  Arch,  dell'  Opera  del  Duomo.  Pergamene^  No.  874.  That  the 
Chapel  already  existed  in  1354  is  proved  by  the  Will  of  a  certain  Tofo 
del  fu  Maghinardi  Salimbeni,  who  devised  among  other  legacies  quod 
residuum  convertatur  in  Cappella  noviter  facta  iuxta  palatium  in  quo 
moratur  d.  Potestas  civitatis  sen. 

*  Cf.  also  Pecci,  Op.  cit.,  p.  cit. 


CAPPELLA    DI    PIAZZA  207 

New  walls  of  Carrara  marble  were  erected  in 
1376,  from  designs  by  Giovanni  di  Cecco,  a  stone- 
mason, with  niches  for  the  statues  of  the  Twelve 
Apostles. 

The  structure  was  not  at  first  intended  to  attain 
the  height  of  the  first  floor  of  the  Palazzo,  in  order 
that  the  view  from  the  windows  might  be  un- 
obstructed ;  but  in  1465  the  ''  SavV  of  the  Opera 
resolved,^  that  the  building  should  be  completed  in 
the  worthiest  possible  manner.  In  1468,  therefore, 
the  further  decoration  and  raising  of  the  facade, — 
which  thus  covered  the  first  and  part  of  the  second 
window  of  the  first  floor, — was  commenced.  It 
was,  however,  not  completed  until  1470,^  under 
the  direction  of  Antonio  Federighi,  who,  according 
to  Tizio,^  was  then  ''Rector''  of  the  Opera. 

The  interior  adornment  of  the  chapel  meanwhile 
had  not  been  neglected.  We  know  that,  in  1392,  the 
painters  Cristoforo  di  Maestro  Bindoccio  and  Meo 
painted  jointly  a  figure  of  the  Saviour ;  and  in  the 

^  Archivio  detto.  Deliberazioni  E.  ix.,  c.  20.  "  Con  quello  degno 
modo  li  parra." 

2  Archivio  detto.  Libra  delle  due  Rose,  cc.  117  and  135.  In  August 
1470  lo  lire  were  paid  to  Guidoccio  Cozzarelli,  le  quali  sonno  per  set 
armidipense  alia  Cappella  del  Campo  e  al davanzale  rifece  a  delta  cappella  ; 
and  14  lire  were  paid  to  Maestro  Giusto  da  Foiano  per  carratura  di  una 
pietra  rechh,  misesi  alia  Cappella  del  Campo  in  uno  dei  fianchi  dove  sono 
intagliate  le  ghirlande. 

^  Tizio,  Op.  cit.,  vol.  v.,  p.  61.  1467-8  {Spring;  before  March)  :  "hujus 
Savini  primordio  Cappella  publico  in  Foro  et  plumbeo  tecto,  ac  caeteris 
ad  earn  iam  destinatis  penitus  absoluta  est,  et  sub  jeditui  dispositione, 
ac  regimine  constituta.  Cappellse  enim  hujus  architectus  Antonius 
Federighius  Senensis  Vir  in  arte  sculptoria,  et  in  omni  architecturse 
genere  peritissimus,  qui  hac  tempestate  operse  publicae  Templi  Senensis 
Magister  preficiebatur."  This  is  further  confirmed  by  Allegretti  in  his 
Diario  (Muratori,  xxiii.,  p.  763),  under  date  1468  :  "/«  questo  tempo  si 
scoperse,  e  levossi  il  tetto  della  Cappella  del  Campo  per  fare  le  volte  su  le 
more  o  vero  colonne  di  mar  mo,  che  vi  si  sonfatte." 


2o8  FAME   AND    FORTUNE 

same  year  Cristoforo  also  executed  an  altar-panel 
for  the  sum  of  i8  florins. 

The  restoration  and  votive  embellishment  being 
now  agreed  upon,  as  stated  above,  it  was  decided  to 
raise  30  ducats  from  the  taxes  on  corn  ;  and  a  Com- 
mittee of  three — Giovanni  Battista  Piccolomini, 
Conte  di  Buonsignori  and  Niccolo  Campana — 
were  elected  to  superintend  the  undertaking.^  In 
spite,  however,  of  the  determination  ofttimes  ex- 
pressed, nothing  seems  to  have  been  done^  beyond 
the  passing  of  further  resolutions,  providing  for  up- 
keep and  general  repairs,  until  March  6th,^  1536-37, 
when  Bazzi  was  formally  entrusted  with  the  work 
of  painting  in  fresco  the  wall  behind  the  altar.  A 
new  Committee  had  been  formed  meanwhile,  con- 
sisting of  the  following  persons  :  Camillo  Ascarelli, 
Belisario  di  Guido  Bandinelli,  Fabio  di  Girolamo 
Garghi,  Alfonso  di  Francesco  Acharigi,  and  Fran- 
cesco Tolomei,  Rector  of  the  Cathedral  works. 
These  Commissioners  covenanted  to  pay  Bazzi 
60  scudi  in  four  instalments  ;  whilst  he  undertook 
to  complete  the  order  by  the  Feast  of  the  Assump- 
tion in  the  same  year.  This  circumstance  is  fur- 
thermore confirmed  by  an  entry  in  the  ''  Scritture 
Concisforiali"  ordering  the  payment  of  the  first 
instalment.''    Nevertheless  the  painter's  heart  does 

^  Archivio  di  Stato.  Deliberazioni  della  Balia,  November  25th, 
1527,  a.  c.  205.     Nuovi  Documenti  dt.^  p.  471. 

2  Archivio  detto.     Concistoro  Scritture,  1530-32,  and  1536.   NotulcB. 

^  Arch.  Not.  Prov.  Siena.  1536-7,  6  Marzo.  Rogiti  di  Ser 
Stgisrnondo  Trecerchi.     Cf.  Appendix  No.  24. 

^  Archivio  di  Stato.  Concistoro  Scritture  ad  annum  1536-7, 
Filza  51.  "Per  parte  deli  spettabilissimi  Quattro  cittadini  operari 
e  commessarii  dell'  lUustrissimo  Concistoro  dei  Magnifici  Signori  e 
Capitano  del  popolo  del  inclita  cittk  di  Siena  a  far  dipignere  1'  altare 


VISIT   TO    PIOMBINO  209 

not  seem  to  have  been  in  his  work  this  time. 
Former  experiences  had  perhaps  taught  him  the 
difficulties  attending  the  raising  of  money  and  the 
settlement  of  debt.  Maybe  the  lavish  expenditure 
on  the  Emperor's  visit  in  the  previous  April  had 
emptied  the  Public  Treasury,  and  thus  no  cash  was 
forthcoming.  He  would  seem,  however,  to  have 
actually  set  to  work  before  the  end  of  1537;  since 
on  September  17th  of  that  year,  a  sum  of  3  lire 
were  paid  to  *'  our  Camerlengo  Ugo  Berti  to  be 
given  to  Pier  Giovanni,"  the  stone-cutter,  for 
encasing  the  shell  of  the  arch,  inside  which  the 
fresco  was  painted  ;  ^  showing  that  some  degree  of 
preparation  had  been  reached  by  the  autumn  of 
that  year. 

Very  soon  afterwards,  however,  the  artist  ap- 
pears to  have  departed  to  the  Court  of  his  patron, 
Jacomo  v.,  Prince  of  Piombino;  where,  in  spite  of 
the  adjurations  of  the  Sienese  authorities,  he  seems 
to  have  stayed  until  the  end  of  1538.     During  this 

della  cappella  de  la  piazza  publica  deputati  con  ampla  auttorita.  Voi 
magnifico  Crescentio  Turamini  banchiere  di  Siena  depositario  deli 
denari  dela  detta  pittura  date  e  pagate  d'  essi  denari  che  havete  in 
deposito  al  generoso  cavaliere  missere  Giovannantonio  Soddoma  pittore 
deputato  a  dipengere  1'  altare,  scudi  quindici,  cioe  scudi  15  quali  se  li 
denno  a  buon  conto  e  per  dar  principio  alia  detta  opera,  secondo  le 
convention!  fatte  con  detti  operai  per  una  scritta  et  che  cosi  facciate 
senza  vostro  preiuditio  e  danno,  hanno  li  detti  operari  deliberate  e 
ordinato  ad  14  di  Marzo,  1536."     Cf.  Mil.  Doc,  p.  185. 

^  Archivio  dell' Opera  del  Duomo.    Lib.  Giallo  detto  deir  Assunta, 

<"•  369, 

"  Christo  MDXXXVII. 

"  Spese  si  faranno  e  facionsi  a  la  capella  di  piazza  per  dipegnerla  de 
dare  a  di  XVII  di  Settembre  lire  tre  che  se  li  fan  buoni  a  Ugo  Berti 
nostro  camarlengo,  che  li  pago  a  Pier  Giovanni  scarpelino  per  ropare 
{sic)  el  archo  del  nichio,  sono  a  uscita  del  detto  Ugo,  f.  116  ..  . 
lire  iij." 

14 


210  FINAL   PERIOD 

time,  a  lengthy  correspondence  continued  between 
the  Signoria  of  Siena,  the  painter,  and  the  Prince.^ 
The  Signoria  on  April  i6th,  1538,  requested  Bazzi 
to  return  at  once  and  finish  the  painting.  But  on 
May  2nd,  at  the  Prince's  request,  permission  was 
granted  to  the  artist  to  prolong  his  visit  through- 
out that  month.  More  letters  followed  on  June  1 7th, 
addressed  both  to  painter  and  Prince,  seemingly 
without  effect.  On  July  3rd  the  exasperated  Sig- 
noria wrote  once  more  to  Jacomo  V. ;  but  the  truant 
did  not  apparently  return  to  Siena  until  the  end 
of  the  year.^ 

Several  notices  ^  among  the  resolutions  of  the 
Concistoro  during  this  period  refer  to  the  work  ; 
one  of  which  records  the  ordering  of  a  curtain 
adorned  with  the  Communal  Arms,  to  hang  before 
the  fresco. 

On  February  21st  and  29th  and  March  19th,'' 
1539  (st.  sen.),  we  find  the  Signoria  and  Bazzi 
agreeing  to  the  appointment  of  experts  to  value  the 
work ;  and  once  more,  Bartolomeo  di  David  and 
Domenico  Beccafumi  (styled  here  Mecuccid)  are 
chosen  arbitrators.     On  April  2nd  the  final  pay- 

^  Archivio  di  Stato  di  Siena,  Copia  Lettere,  1538,  vol.  1748. 
See  Appendix  No.  25.  Cf.  Mil.  Doc.^  vol.  iii.  pp.  130-134.  Gaye, 
Op  cit.^  vol.  ii.  pp.  266-9,  274-5. 

2  An  original  letter  dated  August  x^th,  i539>  from  the  Prince,  taking 
upon  himself  the  whole  blame  for  Bazzi's  delay,  is  still  in  existence.  (Arch. 
detto.  Balia,  Lettere,  1539,  vol.  168,  No.  49.)  It  will  be  observed  that 
an  interval  of  five  months  separates  the  completion  of  the  transaction  and 
the  Prince's  apology. 

^  Archivio  detto.  Concistoro  Deliberazioni.,  vol.  T034.  1538  (st.  sen,), 
5  Gennaio,  f.  4*-;  26  Gennaio,  f.  17  ;  2  Febbraio,  f.  25*-26;  5  Febbraio, 
f.  28. 

*  Archivio  detto.  Concistoro  Deliberazioni,  vol.  1034,  21  e  29 
Febbraio,  f.  43* -44;  vol.  J035,  19  Marzo  f,  6' 


COUNT    PALATINE(?)  211 

ment  is  recorded  ^  in  the  books  of  the  Opera  del 
Duomo.^ 

We  can  no  longer  form  an  opinion  with  regard 
to  the  merits  or  defects  of  this  painting ;  for  the 
weather  first;  next  "improvement"  at  the  hands  of 
Liborio  Guerrini  in  1800;^  and  lastly  the  weather 
once  more,  have  left  little  of  the  original  work 
discernible  at  the  present  day. 

The  building  and  decoration  of  the  Cappella  di 
Piazza  leads  naturally  to  the  open  question  con- 
cerning the  tradition  that  reports  Bazzi  to  have 
received  the  title  of  Count  Palatine  from  the 
Emperor  Charles  V.,  whose  visit  to  Siena  in  1536— 
the  year  prior  to  the  commission  for  the  painting 
— had  aroused  such  unbounded  enthusiasm  in  the 
breasts  of  the  Sienese  populace.  The  crux  of  the 
evidence  in  favour  of  this  tradition  rests  upon 
the  accuracy,  or  conversely,  of  the  inscription  given 
below.  Delia  Valle  ^  quotes  the  version  of  one  of 
Monsignor  Bottari's  correspondents  as  follows  :  In 
honor  em  Beatae  Mariae  Virginis  lo :  Antonius 
cognomento  Sodoma    Senensis    eques,   et    Comes 

^  Archivio  dell'  Opera  del  Duomo.  Libro  Giallo  detto  delV 
Assunta^  f.  369. 

"Christo  MDXXXVII. 

"  E  a  dl  ij  d'  aprile  1539  lire  cinquantasei  se  li  fan  buoni  a  Ugo  Berti, 
camarlengo  che  li  pagb  a  missere  Giovantonio  Sodoma  dipetore,  per  resto 
de  la  dipegnitura  de  la  cappella  di  piaza,  sono  a  sua  uscita,  f.  146.  .  .  . 
lire  Ivj." 

^  A  red  chalk  drawing  for  this  work  is  preserved  in  the  Library  of  the 
Academy  in  Siena. 

^  Romagnoli  {Op.  cit.)  tells  us  that  this  was  done  at  the  expense  of  the 
market  folk ;  and  that  after  such  restoration  little  trace  of  Bazzi's  original 
work  was  discernible.  He  also  adds  that  it  was  badly  injured  before  the 
earthquake  of  1798;  and  that  the  figures  of  Saints  at  the  sides  were  by 
Ansel  mi,  which  is  obviously  impossible. 

^  Delia  Valle,  Op.  cit.,  p.  251. 


212  FINAL    PERIOD 

Palatums  faciebat  MDXXXVIIL,  and  then 
pointing  out  that  the  work  is  a  fresco, — not  a 
panel  as  this  writer  asserts, — proceeds  to  correct 
the  reading  thus  :  Ad honoreni  Virginis  Mariae 
lo :  Antonius  .  .  .  Sodona  eques  et  Comes  Pala- 
tinus  faciebat  MDXXXVIII. 

We  would  observe  that  all  these  versions^  differ 
from  each  other  considerably  in  detail ;  and,  since 
the  inscription  was  doubtless  already  more  than 
half  obliterated  in  Pecci's  day,  and  has  vanished 
altogether  now,  grave  doubt  may  well  arise, 
whether  all  these  excellent  folk  have  not  built 
their  house  upon  very  insecure  foundations. 
Not  a  single  contemporary  writer,  or  document, 
corroborates  the  story.  Indeed,  evidence  of  a 
negative  kind  is  strong,  in  view  of  the  regular  and 
persistent  use  of  the  title  Cavaliere  only,  in  notices, 
agreements,  deeds,  the  Piombino  correspondence,^ 
etc.;  a  circumstance  which  would  certainly  be 
unusual  had  Bazzi  been  really  honoured  with  a 
higher  distinction  and   more  exalted   rank.^      In 

^  Romagnoli  {Op.  cit.)  copies  Bottari's  version,  but  states  that  he  read 
the  inscription  before  Guerrini's  restoration  of  the  painting,  and  found 
therein  the  word  Senensis,  which  he  complains  that  Delia  Valle  has 
omitted  in  his  corrected  version.  But  we  should  also  note  that  this 
said  correspondent  commences  his  information  thus:  ^^ Fu  Gio.  Antonio 
figlio  di  Giacomo  Razzi  da  Vergelle,  villa  distante  15  miglia  da  Siena,  non 
da  Vercelli  di  Fiimonte,"  which  shows  how  far  his  accuracy  may  be 
trusted. 

^  The  varied  spelling  of  this  name  throughout  these  documents  is 
worthy  of  note.  In  all  the  letters,  except  the  last  from  the  Prince 
(wherein  he  is  called  Sogdona),  Sodone  or  Sodona  seems  to  have  been 
the  favourite  variant. 

^  An  accidental  discovery — communicated  by  the  finder,  Signor 
Alfredo  Liberati  of  Siena — brought  to  light  the  following  piece  of 
evidence,  which  certainly  supports  our  contention  :  Archivio  di  Stato 
DI  Siena.  Libro  dei  Battezzatti  delP  anno  1538.     Biccherna  No.   10235. 


FURTHER   COMMISSIONS  213 

the  Buoninsegni  letter  likewise,  recording  the 
painter's  death — where,  surely,  the  title,  had  it 
existed,  would  have  found  place — Bazzi  is  merely 
styled  //  Cavalier e  Sodoma} 

We  may  as  well,  before  proceeding  further  in 
the  narrative,  examine  the  remaining  transactions 
between  our  painter  and  the  authorities,  concluded 
within  this  period.  In  January  1536-37  two 
entries  should  be  noted  ;^  one  in  the  Deliberazioni 
della  Balia,  and  the  other  in  ih^Archivio  deir  Opera 
del Duomo\  both  of  which  refer  to  the  **  writing  off 
on  account  of  his  high  merits''  (attentis  virtutibus) 
of  certain  sums  of  money  owed  by  Bazzi  to  the 
*'  Comune'  of  Siena.  The  first  entry  also  records  a 
somewhat  remarkable  permission :  viz.,  to  fashion  at 
his  own  expense  a  lath-and-plaster  model  of  a  horse 
to  be  set  up  in  the  city,  wherever  the  authorities 

"  Camilla  Maria  Romola,  figlia  di  Giovanbattista  di  Girolamo  legrittiere 
si  battezzo  a  li  xj  di  Novembre,  compari  Ferrando  di  Valentia,  Hispano, 
et  il  Sodoma  cavaliere  et  dipentore"  This  proves  that  so  late  as  the 
nth  November  in  1538  our  artist  was  still  known  as  Cavaliere  zxixon^ 
his  friends  and  acquaintances. 

1  Cf.  post,  p.  237. 

2  Archivio  di  Stato  di  Siena.  Deliberazioni  della  Balia,  1536-37, 
p.  12'- 5  di  Gennaio.  "  Et  attentis  virtutibus  domini  ]oa.xm\s  Aniomx 
.  .  .  alias  Soddoma,  pidoris,  deliberaverunt  soleuiniter  quod  ei  relaxetur 
debitum  quod  habet  cum  Comimi  Senensi  occasione  prestantiarum  usque 
ad  sumviam  librarum  XXV.  denariorum  et  mandavimus preditis  exactori- 
bus  pr<zstantiarum  quare  dictis  debitis  cancellente  et  omni  meliori  modo, 
etc.  .  .  .  Ac  etiam  solemniter  concesserunt  licentiam  prefato  domino  .  .  . 
conficiendi  equm,  prout  designavit,  ponendum  postea  in  aliquo  loco  civitatis, 
prout  videbitur  collegio,  sumptibus  omnibus  dicti  domini."  (In  the  margin 
of  this  entry  is  written  '■'■pro  Sogdoma  pittore.") 

Archivio  dell'  Opera  del  Duomo.  Libro  dell'  Assunta.,  p.  135. 
10  di  Gennaio,  1536-37.  ^'  Sbatterebe  e  cancellarebe  tuto  il  debito  che  il 
Cav.  M,  Gio.  Antonio  detto  Soddoma  dipentore  ha  sopra  di  cotesto  mem- 
bra (delle  Preste)  per  cause  di  preste  vecchie  non  passando  la  somma  di 
JC20  quale  debito  per  li  meriti  e  per  vista  sua  se  li  relassa." 


214  FINAL    PERIOD 

should  think  fit.  The  fate  of  this  animal  has  not 
gone  down  to  posterity;  butitwas  probably  intended 
to  rival  the  celebrated  steed  modelled  by  Beccafumi 
on  the  occasion  of  the  Emperor's  visit. 

Two  other  productions,  both  in  the  Palazzo 
Pubblico,  and  mentioned  by  Vasari/  are  still  in 
existence :  viz.,  the  Resurrection  of  Christ,  and 
the  Madonna  and  Child  with  SS.  Ansano  and 
Galgano.  Nothing  definite  is  known  concerning 
this  latter  work,  set  over  a  doorway  in  the  Sala 
del  Matrimonio\  albeit  Milanesi  places  the  date 
of  execution  in  1535.^  It  is  a  coarsely-executed, 
ill-proportioned  work,  and  calls  for  no  particular 
notice. 

The  other  composition  is  much  the  finer  of  the 
two ;  and  here  tradition  once  more  introduces  the 
painter's  own  portrait,  in  the  person  of  one  of  the 
sleeping  soldiers.^  Vasari  tells  us  that  it  origin- 
ally adorned  the  room  in  which  ''the  salt  was  sold'' 
{dove  si  vende  ilsale) ;  and  Milanesi, settingthe  same 
date  on  the  work  (1535),  avers,  judging  from  the 
coat-of-arms  painted  below,  that  it  must  have  been 
commissionedbyGiovannbattistadiJacomoTondi; 
then  Chamberlain  to  the  Comune.  In  1842,  in 
consequence  of  certain  alterations  carried  out  in  the 
Palazzo,  the  fresco  was  cut  from  the  wall,  mutilated, 
and  re-erected  in  a  room,  used  at  that  time  by  the 

^  Vasari,  Op.  cit,  p.  392,  and  note  2. 

^  Frizzoni  {Op.  at,  p.  173)  following  Romagnoli  {Op.  cit.),  fixes  the 
date  as  1537. 

^  A  red  chalk  sketch  of  two  soldiers  asleep,  probably  intended  for 
this  or  a  similar  work,  is  to  be  seen  among  the  exhibited  drawings  in 
the  Ufifizi  Collection  (No.  1935^);  and  in  the  same  collection,  and  in 
that  of  the  Castello  at  Milan,  are  to  be  found  various  sketches  for  the 
figure  of  the  Saviour  Himself, 


"THE    RESURRECTION"  215 

Gonfaloniere  as  his  study,  and  now  reserved  for 
a  similar  purpose  by  the  Sindaco  of  Siena.  The 
three  shields,  with  the  Imperial  Eagle  and  the 
putti,  painted  above  the  work,  were  then  sepa- 
rated from  the  original  composition,  and  inserted 
under  an  arch  in  another  room,  where  the 
City  Registers  are  now  kept.  They  are  therefore 
usually  overlooked,  although  the  children's  forms, 
of  singular  loveliness  and  charm,  are  well  worthy  of 
more  than  a  passing  glance.  If  we  compare  the 
gracious  figure  of  the  Saviour,  stepping  from  the 
open  tomb,  with  the  Ascension  at  Trequanda,^ 
and  with  the  Virgin  borne  up  to  Heaven  at 
S.  Bernardino,  we  find  in  all  three  admirable 
illustration  of  upward  striving  force,  united  with 
an  unsurpassed  sense  of  buoyancy.  The  figures 
do  actually  seem  to  be  rising  through  the  power 
of  their  own  volition  without  the  loss  of  material 
solidity. 

Another — though  not  quite  so  successful — Re- 
surrection, bearing  the  inscription  lo.  Ant.  Eques. 
Ve.  Auct.  F.A.  1535,  on  a  label  below,  once  hung 
in  the  Church  of  S.  Tomaso  Aquina  in  Naples  ;^ 
and  is  now  preserved  in  the  Royal  Museum  in 
that  city.  Although  this  work,  painted  on  panel,  is 
more  stolidly  conceived,  several  strong  points  of 
resemblance  exist  between  the  two  compositions. 
A  striking  figure  of  a  man,  with  upturned  gaze, 
reclining  half-clad  in  the  centre  of  the  picture,  is 

^  Cf.  p.  200,  note  I. 

^  It  is  not  without  interest  to  observe  that  in  the  oft-mentioned 
Inventory  (Appendix  No.  3 1)  we  tind  there  two  notices  coming  together ; 
"  un  quadro  con  S,  Tommi ;  Christo  in  resurr^ctiom" 


2i6  FINAL    PERIOD 

obviously  a  portrait ;  and  since  it  bears  a  distinct 
relationship  to  the  famous  likeness  at  Monte 
Oliveto,  and  the  same  lineaments  recur  continually 
in  Bazzi's  work  about  this  time,  the  figure  may, 
with  some  show  of  reason,  be  deemed  a  present- 
ment of  the  painter  himself. 

The  vexed  question  with  regard  to  the  dating 
of  the  Adoration  of  the  Magi  in  the  Church  of 
S.Agostino  at  Siena,  must  now  occupy  our  attention. 
This  fine  panel  was  painted  to  the  order  of  the 
Arduini  brothers,  Giovanni  and  Arduino;  and  was 
the  cause,  in  1536,^  of  legal  proceedings  between  the 
painter  and  his  employers.  The  date  of  the  suit 
has  led  many  writers, — including  Milanesi  himself, 
— to  set  the  painting  of  this  picture  too  late : 
i.e.  contemporary  with  the  lawsuit  itself;  whilst 
Frizzoni,^  on  what  we  cannot  help  thinking  in- 
sufficient grounds,  fixes  the  date  too  early.  That 
learned  writer  submits,  as  his  most  cogent  argu- 
ment, certain  passages  from  a  poem.  Sidle  Lode 
delle  Donne  Senese,  published  in  Siena  in  1533  by 

^  Arch.  'Not.  Prov.  Siena.  1536.  13  Ottobre.  Filza  5  dei  Lodi 
di  Ser  Francesco  Figliucci.     See  Appendix  No.  26. 

Vannoccio  Biringucci,  the  arbitrator  in  this  dispute,  was  a  man  of 
considerable  eminence  ;  an  architect,  and  a  writer  of  a  celebrated  work 
on  Pyrotechnics,  printed  by  Venturino  Roffinello  in  Venice  in  1540. 
The  son  of  Paolo  di  Vannoccio  Biringucci'and  Lucrezia  di  Bartolommeo, 
he  was  born  on  October  20th,  1480,  and  became  a  strong  supporter  of 
the  Petrucci  family ;  accompanying  Borghesi  Petrucci  in  his  exile  to 
Rome  in  15 15.  He  thereby  incurred  the  rancour  of  the  historian 
Sigismondo  Tizio,  who  accuses  him  of  much  wickedness,  and  of  tam- 
pering with  public  money.  He,  however,  held  many  offices  of  state ; 
inter  alia,  the  chief  magistracy  of  the  Republic  in  January  1531-32  ; 
and  in  1535  he  succeeded  Baldassare  Peruzzi  as  Capo  Maestro  of  the 
Opera  del  Duomo.  For  further  information  concerning  this  man  the 
student  may  be  referred  to  Mil.  Doc,  vol.  iii.  pp.  124-6. 

2  Frizzoni,  Op  cit.,  pp.  152-4. 


Photo  :  I.o)nbariii. 


MADONNA  AND   CHILD. 
DETAIL   FROM    "THE  ADORATION  OF  THE  MAGI." 

riCCOLOMINI    CtlArEI.,    CHURCH    OF    S.    AGOfiTINO,    SIENA. 


To  face  f>.  216. 


m:. 


OF 


Photo:  Lombardi. 


HEAD   OF   THE   YOUNG   KING. 
DETAIL   FROM   THE   SAME. 


To /ace  p.  2ij5. 


^^      OF  THE         r 

MVERSITY 


LiFOR^ 


PHYLOLAURO    DA   CAVE  217 

one  Phylolauro  da  Cave^  to  show  that,  at  that  date 
at  all  events,  the  picture  was  well  known  in  Siena, 
and  much  admired.  The  contention,  based  upon 
a  mere  ex-parte  statement,  hardly  supports  the 
suggestion  that  the  work  dates  so  far  back  as  15 18. 
Bazzi,  as  we  have  seen,  left  Siena  at  the  commence- 
ment of  1 5 19,  and  reappeared  there  in  1525.  Ample 
time  would  be  available  for  the  execution  of  this 
painting,  between  that  date  and  1533.  There 
are,  moreover,  as  Frizzoni  candidly  points  out, 
distinct  Leonardesque  features  in  the  work, — for 
example,  in  the  countenances  of  the  old  kneeling 
king  and  of  the  handsome  young  one  behind  him  : 
elements  which  might  reasonably  point  to  a 
recent  renewal  of  earlier  influences.  As  regards 
the  so-called  portrait  of  the  artist  himself,  to  be 
found  in  this  painting,  Vasari^  merely  describes 
the  figure  (indicated  by  so  many  authorities)  as  a 

^  This  writer  of  vers  de  societe  does  not  appear  to  have  been  a  native 
of  Siena ;  but  from  his  long  sojourn  there,  and  his  numerous  poems 
written  on  Sienese  personages  of  eminence,  he  is  included  by  De 
Angelis  in  his  work  Biografia  degli  Scrittori  Sanesi  (Siena  :  Giovanni 
Rossi,  1824,  vol.  i.).  That  author  gives  a  lengthy  description  of  a  copy 
of  his  Dialogo  Amoroso,  which  includes  the  Lode  above  mentioned,  and 
was  dedicated  to  the  Duke  of  Malfi.  Whether  this  Filolauro  is  identical 
with  one  Gio.  Battista  Filauro,  a  native  of  Aquila,  who,  according  to 
Niccolb  Toppi  {Biblioteca  Napolitana,  p.  132,  col.  2),  wrote  poetry  that 
had  great  vogue  in  his  day,  is  a  moot  point.  Filauro,  it  appears, 
studied  law  and  letters  with  great  profit  in  Siena  for  the  space  of  three 
years,  but  through  legitivii  impedimenti  was  unable  to  complete  his 
University  course.  That  this  student  must  have  been  virtually  con- 
temporary with  Bazzi  (and  also  with  Filolauro)  is  evident  from  the  fact 
that  his  poem  on  the  Mysteries  of  the  Passion  was  published  as  early 
as  1578, — some  time,  perhaps,  after  his  decease.  He  appears  also 
to  have  composed  canzone,  sonnets  and  pastorals  that  were  much 
admired,  and  a  poem  in  fifteen  cantos,  entitled  Orlando  Saggio,  to 
rival  Ariosto.     See  Appendix  No.  26A. 

2  Vasari,  Op.  cit.,  p.  395. 


2i8  FINAL    PERIOD 

'' pastore^'  {2. shepherd) ;  and  it  is  purely  tradition, 
that  Bazzi  himself  is  here  portrayed.  That  a 
portrait  of  some  particular  person  was  intended, 
would  account  for  the  lifelike  appearance  of  this 
figure,  which  is  the  special  element  noted  byVasari; 
but  Bazzi  need  not  necessarily  himself  have  been 
the  model;  and — as  the  late  Herr  H.  Ulman^ 
remarks — the  features  bear  little  or  no  resemblance 
to  the  authentic  Monte  Oliveto  portrait.^ 

Thus,  with  all  due  deference  to  so  distinguished 
an  art-critic  as  Dr.  Frizzoni,  we  cannot  but  hold 
the  view,  that  no  absolutely  incontrovertible  reason 
exists,  to  date  this  picture  so  early  as  1 5 18.  Indeed, 
the  evidence  would  rather  tend  to  favour  a  later  date: 
perhaps  1530-32.  That  the  Arduini  quarrelled 
with  the  painter,  and  brought  an  action  against 
him,  is  proved  fact ;  but  it  is  not  impossible 
that  this  lawsuit  may  have  extended  over  five 
or  six  years  ;  or  proceedings  may  not  have  been 
instituted  until  the  plaintiffs  had  lost  all  patience 
with  the  defendants.  The  rights  of  the  parties 
were  eventually  adjusted  ;  and  it  was  decided  that 
the  Arduini  brothers,  on  receipt  of  a  sum  of  seven 
scudi,  were  to  restore  to  the  painter  a  tondo  repre- 
senting "  Our  Lady,  SS.  Elizabeth  and  Joseph','^ 

^  MS.  notes  in  the  late  H.  Ulman's  copy  of  Frizzoni's  Z'  Arte  del 
Rinascimento,  preserved  at  the  Kiinsthistorisches  Institut  in  Florence. 
Even  Delia  Valle  makes  a  similar  comment. 

2  It  is  worth  noting  that  if  Bazzi  wore  long  hair  and  a  clean-shaven  face, 
and  portrayed  himself  thus  (Vasari,  Op.  cit.,  p.  388)  in  the  fresco  of  Christ 
at  the  Column  in  1514,  why  should  he  have  altered  so  much  by  1518? 

^  Can  this  be  the  tondo  in  the  Collection  of  the  late  Colonel  Legh, 
at  High  Legh,  Cheshire?  The  mention  of  a  tondo  so  late  in  our 
artist's  life  is  rather  remarkable ;  but  there  is  nothing  to  prove  that  this 
particular  work  had  not  been  painted  long  before  this  date 


THE   NATIVITY   OF   THE   VIRGIN. 

CHURCir   OF   THE   CAKMINE,    SIENA. 


To  face  p.  219. 


-THE    NATIVITY   OF   THE   VIRGIN"  219 

which  they  seem  to  have  held  as  some  sort  of 
security;  together  with  its  frame,  eic.{con  tuttiisuoi 
fornamenti  dot  el  f est  one  dorato,  nel  essere  che  si 
frova).  The  picture  now  adorns  the  Piccolomini 
chapel  in  the  Church  of  S.  Agostino  in  Siena, 
and  bears  an  inscription  added  by  the  owners  of 
that  chapel :  Ascanius  Piccolomineus  Archiep. 
Senarum  Quintus:  with  their  coat-of-arms  at  either 
end.  A  red  chalk  drawing  for  the  Moorish  king 
— beardless — is  preserved  in  the  Library  of  the 
Sienese  Academy  of  Fine  Arts  ;  and  other  sketches 
in  the  same  medium  are  to  be  found  among  the 
drawings  in  the  Spannocchi  Collection,  shown  at 
the  Exhibition  of  Sacred  Art  at  Siena  in  1904. 

Vasari^  makes  mention  of  another  painting  in 
Siena,  to  which  passing  notice  should  here  be  ac- 
corded: v\z.2i  Nativity  of  the  Virgin,  in  the  Chapel 
of  the  Sacrament  at  the  church  of  the  Carmine. 
For  some  unaccountable  motive,  the  authorship  of 
this  unequal  and  awkwardly  composed  work  was 
taken  by  the  Committee  of  the  above-mentioned 
Exhibition  from  Bazzi,  and  given  to  his  pupil,  Giomo 
del  Sodoma.  The  remarkably  beautiful  and  char- 
acteristic female  head, — recalling  Roxana, — in  the 
very  centre  of  the  composition,  should,  through  its 
unmistakable  characteristics,  have  precluded,  we 
would  fancy, — even  without  Vasari's  express  state- 
ment,— the  possibility  of  such  a  mistake.  No 
one  but  Bazzi  himself  could  have  created  such  an 
exquisite  head ;  which  alone  would  rescue  any 
composition,  however  poor,  from  insignificance. 

Delia    Valle^   mentions,    in    addition,    another 

1  Vasari,  Oj).  cit.,  p.  390.  ^  Delia  Valle,  Op.  cit,  p.  269. 


220  FINAL    PERIOD 

Nativity  of  the  Madonna,  in  the  Chapel  of  the 
Villa  Bandinelli  (now  Nerucci)  :  //  Monistero. 
This  interesting  picture,  however,  though  strongly 
recalling  in  certain  elements  our  artist's  manner, 
alike  in  conception  and  treatment,  has  either  been  so 
over-painted  as  to  efface  the  essential  impress  of  the 
master's  hand ;  or  is  but  the  copy  of  a  lost  original. 
The  circumstance  of  a  thorough  restoration,  (?) 
in  1820,  by  Giuseppe  Collignon,  would  account, 
perhaps,  for  the  present  unfortunate  condition  of 
the  painting.    The  date  1540  is  probably  spurious. 

Vestiges  of  yet  another  fresco, — a  *'  Pieta',' — 
recorded  by  our  biographer,  still  remain  on  the 
walls  of  the  Casa  Bambagini  Galletti  in  Via 
Stalloreggi.  "  A  Dead  Christ','  says  Vasari,  "of 
wondrous  divinity  and  grace."  ^  Tradition  varies 
concerning  the  usual  appellation  of  this  work  :  viz. 
"  la  Madonna  del  Corvo  : "  given,  it  is  asserted  by 
some,  on  account  of  a  crow  that  once  figured  in  the 
composition  ;  and  by  others,  in  memory  of  a  vow 
registered  during  one  of  those  fearful  visitations 
of  the  Plague,  which  so  frequently  overtook  Siena. 
However  this  may  be,  the  sadly  damaged  painting 
exhibits  great  dignity  and  force  of  style.  A  draw- 
ing for  the  composition  is  -preserved  in  the  Uffizi 
Collection  (Case  343,  No.  563).^ 

To  this  phase  of  our  artist's  career  two  more  fine 
large  panels  also  appertain.  One  of  these  remains 
in  situ,  over  the  altar  in  the  north  transept  of  the 

^  Vasari,  Op.  cit.,  p.  396.  "  Un  Crista  morto  .  .  .  ha  una  grazia  e 
divinita  maravigliosa,^^ 

2  Delia  Valle  {Op.  cit.,  p.  278)  records  that  this  drawing  once 
belonged  to  Abate  Galgano  Ciaccheri,  librarian  of  the  Communal  Library 
in  Siena, 


SINALUNGA  221 

Collegiate  Church  at  Sinalunga ;  whilst  the  other, 
formerly  in  one  of  the  churches  at  Colle  di  Val 
d'  Elsa,  passed  about  the  year  1840  from  the  posses- 
sion of  Cav.  Rosselli  del  Turco,into  the  Royal  Pina- 
coteca  at  Turin  for  the  sum  of  1200  scudi.  The 
Sinalunga  pdiinting,  3.  Madonna  enthroned  with  her 
C>^//</ standing  beside  her  knee,  and  surrounded  by 
^.S.  Sigismund,  Roch,  Sebastian,  Anthony  Abbas, 
and  the  young  5.  John  the  Baptist,  has  been 
extensively  repainted,  it  is  true ;  but  nevertheless 
displays  great  dignity  of  style  in  colour  and  com- 
position. The  sentimental  weaknesses,  that  mar  so 
much  of  our  artist's  work,  are  not  altogether  absent, 
though  some  of  the  figures,  notably  that  of  the 
Holy  Child, — which  recalls  divers  other  examples 
of  paintings  belonging  to  this  period, — are  dis- 
tinctly pleasing.  Moreover  we  are  struck  by 
many  points  of  similarity  to  the  Adoration  of  the 
Magi,  already  mentioned,  especially  the  counten- 
ances of  the  Madonna  and  of  the  handsome  Royal 
Saint,  reminiscent  of  the  youthful  King  in  the 
better-known  painting.  The  Turin  picture, 
although  in  far  finer  condition,  is  harder,  and, 
speaking  generally,  less  pleasing.  Here  the 
Virgin,  half-seated  on  a  sort  of  high  dais,  leans 
over  somewhat  ungracefully  towards  her  Divine 
Son,  whose  attitude  also  lacks  distinction.  On 
either  side  stand  ^.S.  Catherine  of  Alexandria  and 
Lucy,  whilst  before  the  Madonna  kneel  SS.  Jerome 
and  John  the  Evangelist,  accompanied  respectively 
by  a  lion  and  an  eagle.^ 

^  It  is  curious  to  remark  how  often  Bazzi  in  these  large  altar  com- 
positions repeats  the  same  selection  of  saints  ;  those  most  frequently 


222  FINAL    PERIOD 

Some  light  is  thrown  incidentally  upon  these 
years  of  our  painter's  private  life,  by  chance  entries 
in  registers,  etc.  On  May  19th,  1524,  his  mother- 
in-law,  Caterina  del  Niccold  de'  Peri  de  Galli, 
executed  her  Will,^  in  which  she  devised  to  her 
beloved  daughter,  Beatrice,  wife  of  *'  Gio.  Antonio 
.  .  .  alias  Sobdoma  pittore^'  two  houses  in  Via 
Vallerozzi ;  one  of  which,  we  are  told,  was  ''  rincon- 
tro  "  (opposite  to)  the  Sun  Tavern,  whilst  the  other 
stood  '' riscontro''  (beside)  allerede  di  Giovan- 
agnolo?  Tothese hereditaments,  thepainter himself, 
on  October  23rd,   1534,^  added  another  house, — 

chosen  being  SS.  Sebastian,  Roch,  Anthony  Abbas,  Sigismond,  Jerome, 
Lucy,  and  the  two  Catherines.  The  introduction  of  other  saints  in  his 
groups  is  comparatively  rare. 

^  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Ventura  de  Cionne  Ciogni 
da  Lucignano,  Val  di  Chiana,  Filza  del  1523-27,  Rep.  A,  Busta  604. 

No.  48.  Testj  di  Caterina  del  fu  Niccolb  de'  Peri,  e  Vedova  di 
Luca  di  Galli  da  Siena  fatto  nel  19  di  Maggio,  1524.  "  Lascia  a  Beatrice 
sua  figlia  {eius  dilectce  filice)  e  moglie  di  Gio  Antonio  .  .  .  alias 
Sobdoma  pittore  due  sue  case  poste  una  nella  contrada  di  Vallerozzi 
in  loco  dicto  rincontro  al  Sole,  1'  altra  nella  stessa  contrada  in  luogo 
detto  riscontro  alP  erede  di  Giovanagnolo.  Erede  universale  Niccolo 
figliuolo  della  Testatrice."  Milanesi  MSS.,  Bib.  Com.  Siena,  P.  III.  49, 
p.   149. 

It  is  curious  to  note  that  the  testatrix  makes  her  second  son  Niccolb 
her  residuary  legatee.  Her  eldest  son  Bartolommeo, — who  seems  to 
have  been  a  stonemason, — may  have  been  a  doubtful  character,  since 
on  December  9th,  1538,  he  was,  we  read,  banished  from  Siena  for  man- 
slaughter. Arch,  di  Stato  di  Siena.  Ufficiali  di  Custodia,  Libro  delle 
Condanne  dal  1515-36,  No.  102.  1538.  Die  viiij  Decembris.  ^^  Et 
posuerunt  in  banno  sicut  formam  statuti  Bartalomeum  pieri  Galli  de 
Senis  lapicidam  pro  homicidio  per  eum  commisso  in  personam  Antonii 
Marice  bennardini  similiter  lapicide  de  Senis." 

2  This  person  was  most  likely  some  relation  of  Riccio's  second  wife, 
Giuditta,  daughter  of  Giovanni  di  Giuliano  and  D^  Arcangela 
Giovannangeli. 

3  Arch.  Not.  Prov.  Siena.  23  Ottobre,  1534.  Rogiti  di  Ser  B a l- 
dassare  Corti  da  Pienza  {Gestioni  Notarili  alP  anno  1585).  Atto  192. 
Rep.  A,  Busta  988.  It  is  worth  observing  that  in  1534,  ten  years 
after  the  execution  of  her    Will,  part  of  the  property  adjoining  the 


PURCHASE  OF  PROPERTY    223 

apparently  adjoining.  The  latter  property, — pur- 
chased from  one  Sebastiano  d'  Andrea,  a  shoe- 
maker, for  the  sum  of  100  florins  of  four  lire  each, 
— would  appear  to  have  been  subject  to  certain 
rights  pertaining  to,  and  a  rent-charge  of  six 
florins  a  year  payable  by,  the  Brothers  of  the 
Convent  of  S.  Francis;  which  latter  amount  Bazzi 
undertook  to  refund  to  the  vendor  and  his  heirs 
male,  over  and  above  the  purchase  money;  binding 
himself  furthermore  to  refrain  from  making 
substantial  alterations  (varying  the  number  of 
rooms,  etc.)  to  the  fabric  of  the  house  without 
the  consent  of  the  Franciscan  Community.  From 
the  document  setting  forth  the  transaction  we 
gather  that  a  moiety  of  the  purchase  money 
was  represented  by  certain  advances  to  the 
vendor  (loans  perhaps)  made  previously  by  our 
artist ;  and  another  moiety,  by  23  braccie  (ells)  of 
Spanish  cord  (corduroy) ;  so  that  the  cash  balance 
at  the  time  of  the  sale  only  amounted  to  38  lire 
15   soldi  4  den. 

The  painter's  only  daughter,  Fatistina,  as  we 
have  said,  married  comparatively  late  in  life,  in 
1543,^  Bartolommeo  Neroni  (il  Riccio),  Bazzi's 
best-known  pupil  and  imitator;   then,  according 

messuage  conveyed  by  this  deed  is  described  as  belonging  to  domine 
Caterine  relicte  Luce  de  Gallis.     Appendix  No.  27. 

^  Archivio  di  Stato  di  Siena.  1542-43,  Settembre.  Denunzia 
dei  Contratti,  c.  1 14.  "  Bartolommeus  alias  Riccio  dipentore  se  ipsum 
denunptiat  quod  duxit  in  uxorem  D.  Faustinam  D.  Jo  Antonii  alias 
Sodoma  cum  promissione  dotium  flor :  centum."  Milanesi  and 
Borghesi  MSS.,  Bib.  Com.  Siena,  P.  III.  24,  p.  106%  and  Milanesi 
MSS.,  P.  III.  49,  p.  265*- 

If  Bazzi  could  provide  his  daughter  with  such  a  sum  on  her  marriage, 
he  could  not  have  been  so  very  poor. 


224  FINAL    PERIOD 

to  Milanesi/ " ///  his  first  youths  She  took  with 
her  a  dowry  of  loo  florins  ;  but  died  leaving  two 
daughters,  Parsenia, — who  in  her  turn  married 
Scipione  d' Antonio  di  Rinaldi  (1573) — and 
Beatrice,  who  became  a  nun.^  To  these  ladies 
passed  the  houses  and  lands  thus  inherited  and 
purchased  by  Bazzi  and  his  wife. 

The  property  which  thus  descended  to  them 
appears  to  have  formed  the  subject  of  considerable 
litigation ;  in  consequence,  seemingly,  of  differ- 
ences, which  arose  in  connection  with  a  Contract 
of  Sale  in  July  1571"^  to  Marco  di  Pietro,  a  Sienese 

^  Vasari,  Op.  cit.,  Commentary,  p.  412.  It  is  not  easy  to  understand 
what  Milanesi  means  here  by  '"'' first  youth  "  {sua  prima  gioventu),  since 
he  speaks  of  work  executed  by  Riccio  at  Asciano  and  Siena  in  1534 — 
at  least  eight  years  before  his  marriage — work  such  as  he  could  scarcely 
have  undertaken  at  an  earlier  age  than  nineteen. 

2  Romagnoli  {Op.  cit.,  vol.  vi.  p.  721)  says  that  Riccio  wanted 
to  marry  one  of  his  daughters  to  Lattanzio  Bonajuti,  who,  however, 
declined  the  alliance.  Mancini,  quoted  by  Delia  Valle  {Op.  cit.,  p.  3C0), 
says  that  one  of  his  daughters  became  a  nun,  whilst  the  other  married 
Pompilio  Sellaro,  a  man  "  commodo  e  onorato." 

^  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Luca  Salvini,  Rep.  A, 
Busta  948.  12  Luglio,  157 1.  "  Parsenia  e  Beatrice  sorelle  e  figlie  del  fu 
M°  Bartolommeo  di  Sebastiano  de'  Neroni  detto  M°  Riccio,  pittore,  fanno 
procuratore  Girolamo  Antonio  Lenzini  di  Siena  a  litigare  in  corte  di 
mercanzia  contro  M°  Marcho  del  fu  Pietro  pittore  una  loro  casa  posta 
nel  3°  di  K.  in  contrada  di  Vallerozzi,  da  una  parte  la  via  pubblica,  dal 
altra  convent©  di  S.  Francesco ;  dal'  altra.  .  .  .  E  fra  i  Testimoni  Pietro 
d'  Antonio  d'Arrigo,  pittore  Lucchese."  (A  rough  translation  of  a  Latin 
original.     Milanesi  MSB.  cit.,  p.  266.) 

From  this  document  we  learn  that  the  house  sold  adjoined  the 
Franciscan  convent.  Riccio  seems  to  have  also  owned  property  in 
the  Via  Salicotto  which  he  sold  to  the  same  purchaser. 

Arch,  detto.  Rep.  detto.  Busta  detto.  1567,  29  Nov.  *'M°  BartoP" 
di  Seb"°  de  Neroni  alias  M°  Riccio  pittore  vende  a  M°  Marco  del  fu 
Pietro  pittore  una  casa  posta  in  Salicotto."  There  are  two  deeds  with 
regard  to  this  sale  (Nos.  5164  and  5156  in  the  same  file),  and  in  the 
latter  of  these  the  painter  announces  that  the  contract  is  undertaken 
with  the  consent  of  his  second  wife  Giuditta  and  his  two  daughters. 

According  to  Romagnoli  {Op.  cit.,  vol.  cit.,  p.  782),  one  of  these 


VOLTERRA  225 

painter.^  It  is  unfortunate  that  nothing  more 
definite  can  be  learned  concerning  the  exact 
whereabouts  of  these  houses,  etc.,  beyond  the 
knowledge  that  a  garden  {orio)  was  attached, 
and  that  it  lay  adjacent  to  the  Convent  of 
S.  Francesco,  in  the  parish  of  S.  Donato^  and  in  the 
Vallerozzi  quarter  of  the  Terzo  di  Camollia.  Hence 
we  might  conclude  that  the  street  now  called  l^ia 
del  Orto,  which  runs  down  from  the  south  side 
of  the  Via  Vallerozzi,  out  of  the  Via  dei  Rossi, 
would  perhaps  furnish  us  with  the  necessary 
landmarks. 

According  to  Vasari,  Bazzi,  "the  impoverished 
spendthrift,"^  jealous  of  Beccafumi's  rising  fame, 
turned  his  back  upon  Siena,  and  made  his  way  to 
Volterra,  with  the  intention  of  sojourning  there 
for  some  time.     Here  he  enters  the  household  of 

daughters, — probably  Parsenia, — in  1573  claimed  170  ducats  from  the 
Opera  del  Duomo  for  a  design  made  by  her  father  for  a  choir-stall ;  but 
was  awarded  70  ducats  only,  by  the  Court  to  which  she  had  appealed 
(Memorie  dell'  Opera,  1573).  The  stall  is  still  to  be  seen  in  its 
place,  and  the  drawing  is  preserved  in  the  Uffizi. 

1  Romagnoli  says  that  this  painter  and  Marco  da  Siena  were  one  and 
the  same  person ;  but  a  pencil  note  on  the  margin  of  his  MS.  in  the 
handwriting  of  Milanesi  himself  contradicts  this  statement.  Among 
the  papers  of  this  latter  writer  in  the  Communal  Library  at  Siena 
(P.  III.  51,  p.  309'),  there  is  a  quotation  from  one  of  the  documents 
regarding  the  above  case  as  follows  :  •'  Mag"  Marius  olim  petro  pictor 
Senensis  seu  de  Fontremoli."    Ser  Fabio  Lomeri,  Prot.  v.  c.  292. 

2  It  is  in  the  registers  of  this  parish  that  the  following  entries  occur  : 
(Archivio  di  Stato  di  Siena,  Libro  della  Lira) — 

1531,  No.  125,  fol.  64,  St°- Donato  a  Montanini.  M"-  Giovan  Anf' 
dipentor  alias  el  Sodoma  lire  cento.     L.  loo. 

1549,  f.  37,  K.  (Kmollia).  S.  Donato  in  Montanini.  J/"  Beatrice  di 
Lucha  Gain  dona  gid  del  Sodoma  j£  vinti.  L.  20.  JVole. — She  is 
entered  Ikus  twice  in  the  same  register. 

^  Vasari,  Op.  cit.,  p.  397.  Milanesi  draws  attention  in  note  i  to  the 
inaccuracy  of  this  statement. 

15 


226  FINAL   PERIOD 

Lorenzo  di  Galeotto  de'Medici,^  who  is  alleged  to 
have  employed  him  to  paint  a  canvas  representing 
the  Fall  of  Phaethon.  All  trace  of  this  work  has 
vanished  ;  but  the  adoption  of  the  term  tela  would 
perhaps  authorize  the  suggestion,  that  the  painting 
in  question  was  a  ceiling-cloth  ;  and  a  fine  drawing 
for  some  such  purpose  is  still  in  existence  in  the 
Uffiizi  (Case  345,  No.  1644).^  This  drawing  enables 
us  to  repel  once  more  the  oft-repeated  accusations 
of  negligence  brought  against  our  artist  by  the 
ill-natured  Aretine. 

Bazzi,  it  is  known,  during  a  visit  to  Volterra, 
and  at  the  request  of  the  monks  of  the  Convent 
of  S.  Francis,  retouched  the  Circumcision^  painted 
for  them  by  Luca  Signorelli ;  entirely  remodelling 
the  effigy  of  the  Divine  Infant.  Such  tampering 
with  a  brother-artist's  work  is  in  more  than 
questionable  taste  ;  but  the  Christ-Child  itself, — 
though  entirely  out  of  keeping  with  the  rest  of  the 
figures, — does  no  discredit  to  Bazzi  at  his  best ; 
whereas  children  were  not  Signorelli's  strong  point. 

At  least  three  other  paintings  at  Volterra  pass 
under  our  artist's  name:  viz.,  a  Crucifixion,  with 
the  Virgin,  SS.  Mary  Magdalen  and  John,  in  the 
chapel  of  the  Confraternita  della  Croce  di  Giorno, 
at    S.    Francesco, — clearly   a    repainted    school- 

^  Who  this  Lorenzo  de'  Medici  was  we  do  not  know.  Perhaps  a  cadet, 
or  even  a  bastard  scion,  of  the  great  Florentine  House. 

2  Vasari,  Op.  cit.,  p.  397.  Another  ceiling  design,  one  of  the  panels 
of  which  contains  this  same  subject,  formerly  belonged  to  M.  Destail- 
leur,  of  Paris.  It  disappeared,  however,  at  the  sale  of  his  collection 
in   1896. 

^  Now  in  the  National  Gallery,  London,  No.  11 28.  Vasari  {Op.  cit., 
vol.  iii.  p.  685)  states  that  the  figure  of  the  Holy  Child  had  been  injured 
by  damp,  but  deprecates  the  alteration. 


PISA  227 

work  ;^  A  Descent  from  the  Cross,  in  the  Chapel 
of  S.  Carlo,  adjoining  the  Duomo, — an  indifferent 
oil  sketch,  also  by  some  scholar  f  and  a  very 
pleasing  Marriage  of  S.  Catherine,  in  the  Palazzo 
Ricciarelli,  which  perhaps  dates  from  this  period. 

This  visit  would  seem  to  have  occurred  about 
the  middle  of  the  year  1539;  but  certain  apparent 
confusion  arises  through  the  difference  in  time  com- 
putation adopted  in  Siena  and  Pisa  respectively.^ 

Our  artist  soon  "wearied,"  as  Vasari  tells  us,  of 
the  thraldom  of  princely  servitude;  and  the  autumn 
finds  him  at  work  in  Pisa,  where  he  encountered 
once  more  the  rivalry  of  his  enemy  Beccafumi. 

Thanks  to  the  protection  of  Battista  del  Cer- 

^  Frizzoni  {Op.  cit.,  p.  185)  gives  this  work  to  Riccio,  but  it  seems 
hardly  good  enough  even  for  that  painter. 

^  Frizzoni  {Op.  cit.,  p.  175)  justly  observes  that  Jansen  {Op.  cit.,  p.  194) 
must  have  made  some  mistake  in  lavishing  praise  on  a  work,  that  at  best 
could  only  be  a  copy  of  some  finer  work. 

^  The  following  notes  may  assist  us  to  elucidate  the  discrepancies 
apparent  here.  Heywood,  Falio  and  Ponte  cit.,  p.  109,  note  2  :  "Accord- 
ing to  the  Pisan  method  of  computation,  the  year  commenced  with 
March  25th,  dating  ab  incarnatione.  This  was  the  case  also  with  the 
Sienese  and  Florentine  calendars ;  but  while  the  two  last-mentioned 
peoples  dated  their  year  from  March  2 ^th.  following  the  commencement 
of  the  cominon  year,  the  Pisan  dated  it  from  March  25th  preceding  the 
comtnencement  of  the  common  year."  Cf.  also  Sketches  on  the  Old  Road 
through  France  to  Florence,  by  A.  H.  Hallam  Murray,  Henry  W. 
Nevinson  and  Montgomery  Carmichael  (London:  John  Murray,  1904), 
p.  227,  note  :  "  The  Pisans  almost  alone  in  Tuscany  logically  reckoned 
from  the  Incarnation  itself.  Most  other  places  adopted  the  Florentine 
Style  of  reckoning  from  a  year  after  the  Incarnation.  The  Pisans, 
therefore,  are  nine  months  and  seven  days  ahead  of  our  notation, 
the  Florentines  two  months  and  twenty-five  days  behind  us.  There 
were  a  few  places  in  Tuscany  {e.g.  Arezzo,  Pistoia,  Cortona)  which 
began  the  year  a  Nativitate.  Outside  Tuscany  we  have  the  Venetian 
Style,  beginning  the  year  on  March  ist,  before  our  January  ist.  As 
may  be  imagined,  the  business  of  giving  a  modern  date  to  old 
Tuscan  documents  and  inscriptions  is  attended  by  an  abundance  of 
pitfalls." 


228  FINAL    PERIOD 

velliera/  he  obtained  employment  from  Messer 
Bastiano  della  Seta,^  at  that  time  Rector  of  the 
Opera  del  Duomo  (1539-42) ;  and  plentiful  and 
elaborate  indeed  are  the  notices^  existing  in  the 
books  of  the  Opera  regarding  the  work  done  there. 
A  noticeable  feature  at  this  juncture  is  the  recur- 
rence of  the  name  of  "  Tisoni,''  which  has  given 
rise  to  so  much  conjecture.  The  reappearance  of 
this  name  here  sets  at  rest  once  for  all  the  theory 
that  Bazzi  took  the  appellation  from  vain  purpose 
and  pride,  when  created  Cavaliere,  and  dropped  it 
again  when  old  age  and  poverty  overtook  him.  As 
a  matter  of  fact,  apart  from  Vasari's  insinuations, 
no  proof  exists  of  this  alleged  poverty  ;  and  since 
no  other  more  valid  reason  is  forthcoming,  we 
are  drawn  to  the  conclusion  that  the  assumption 
of  the  name  was  i\vt  fruit  of  mere  caprice. 

^  This  celebrated  wood-carver  and  architect,  born  in  June  1489,  was 
the  son  of  one  Pietro  di  Pietro,  a  master  carpenter  and  wood-carver 
{maestro  di  legnaine  e  d'  intaglio)  of  eminence  from  Corsica,  whose  work- 
shop was  in  S.  Martino  alia  Pietra  di  Lungarno.  Giovanni  Battista  del 
Cervelliera  executed  a  great  deal  of  the  fine  carved  woodwork  in  the 
Pisa  Duomo,  including  the  stalls  in  the  choir,  and  the  Bishop's  throne 
in  the  nave.  He  was  also  employed  in  much  of  the  architectural  work 
both  there  and  in  the  Campo  Santo,  and  stood  artistic  sponsor  to 
Perino  del  Vaga  with  the  Pisan  authorities.  At  the  wish  of  the  Grand- 
Duke  Cosimo,  who  held  him  in  high  esteem,  he  was  chosen  Maestro 
of  the  Opera,  and  afterwards  architect ;  and  was  protected  in  a  lawsuit 
brought  against  him  by  the  Operaio,  in  which,  without  such  powerful 
assistance,  he  must  have  lost  his  case.  He  died,  after  a  long  illness, 
about  1570.  (Vasari,  Op.  cit.,  vol.  ii.  p.  469  and  note;  and  vol.  v.  p.  618; 
and  I.  G.  Supino,  Z'  Arte  del  Rinascimento  nel  Primaziale  di  Pisa : 
Roma,  1893,  pp.  19,  20.) 

2  Vasari,  Op.  cit.,  vol.  cit.,  p.  cit. 

^  These  have  been  carefully  extracted  by  Cav.  Supino,  the  able  director 
of  the  Bargello  in  Florence  {Op.  cit.,  pp.  28-32),  and  by  Sig.  Tanfani 
Centofanti,  director  of  the  Pisan  State  Archives  {Op.  cit.),  whence  most 
of  our  information  is  drawn. 


COMMISSIONS   AT    PISA  229 

The  earliest  notice  with  reference  to  our  artist 
in  Pisa  occurs,  as  we  have  seen,  in  i539,i^  when 
the  Opera  del  Duomo  supplied  him  on  loan 
with  some  furniture  and  a  quantity  of  painting 
materials.  These  things  were  eventually  returned, 
we  are  told  ;  but  being  worn  and  damaged  by  use, 
were  debited  to  the  painter's  account  in  the 
Chapter  Registers. 

His  first  commission  appears  to  have  been  the 
Pieta,'^  which  now  hangs  at  the  farther  end  of 
the  Tribuna  in  the  Duomo.  This  painting,  now 
much  darkened  and  at  best  an  unsatisfactory  work, 
seems,"^  together  with  other  pictures  by  Sogliani 
and  Beccafumi,  and  Bazzi's  Sacrifice  of  Abraham, 
to  have  been  originally  intended  to  adorn  the 
Sacristy ;  but  no  record  is  forthcoming  in  refer- 
ence to  a  transfer  thence  to  their  actual  position. 

The  Pieta  was  completed  on  May  5th,  1540;^ 

^  Archivio  di  Stato  di  Pisa.  Archivio  dell'  Opera  del  Duomo. 
Memoriale,  n.  3,  p.  45  (455,  c.  16),  "«  maestro  Ganantonio  d'  lacopo 
Tisoni  di  Verssh  pitore  detto  el  Sodoina  da  Sena." 

2  Archivi  detti.  Ricordanze  c.  63'  (461,  22).  ""Maestro  Govan- 
antonio  d'  lacopo  l^isoni  da  Verssi  chavalieri  detto  Sodoma  pitore  de' 
dare  a  d\  12  di  Novembre  lire  quarantadue  portb  chontanti  a  chonto 
d'  uno  quadro  in  saghrestia  in  el  mexo  di  tutti  e'  quadri  k  preso  k 
dipingere  per  in  duomo  e  lavorallo  in  Pisa."  It  is  to  be  observed  that 
the  title  of  Cavalier  is  the  only  one  used  throughout  these  documents. 

^  This  picture  has  been  many  times  restored;  notably  in  1830,  and 
again  somewhat  recently  by  Sig.  Domenico  Fiscali. 

^Archivi  detti.  Ricordanze,  c.  122  (461,  22).  "MDXXXXI. 
Maestro  Govanantonio  d^  lacopo  Tisoni  da  Vers^e  pitore  de'  avere  a  di 
5  di  mago  ducati  otanta  di  lire  sette  per  ducato  che  tanti  restammo 
d'  achordo  questo  di,  darlli  per  dipintura  d'  un  quadro  del  mexo  di 
saghrestia  che  v'^  dipinto  la  Pietk  chon  altre  nove  fighure  al  naturale 
chon  axuro  intramarino  e  la  fighura  di  S.  Bartolomeo,  titulo  de  1'  altare, 
auto  questo  dl  in  duomo,  chon  pato  che  s'  e  colori  d'  axuro  intramarino 
che  vi  sono  fusino  di  piii  valsuta  che  gl'  altri  axuri  delle  taule  e  quadri  che 
sono  in  duomo,  di  ducati  dodici  si  gl'  abi  a  fare  buono  da  ditti  ducati 


230  FINAL    PERIOD 

and  explicit  notices  refer  to  the  money  expended 
on  that  costly  material,  '*  ultramarine,"  of  which  a 
great  deal  seems  to  have  been  consumed  in  the 
work  at  Pisa.  We  may  observe  that  in  the  case 
of  this  painting  an  extra  allowance  was  made.^ 
The  Opera,  when  paying  for  the  Pieta,  also 
seem  to  have  desired  another  painting  to  adorn 
the  altar  dedicated  to  S.  Bartholomew  ;  and  on  the 
same  day  35  lire  were  paid  to  Bazzi  '*  on  account " 
of  this  work.^  It  would  appear,  however,  that 
the  painting,  through  some  misunderstanding, 
was  not  carried  out ;  since  the  margin  of  the 
register  bears  the  following  words:  "The  said 
panel  did  not  follow  the  contract  that  was  made. 
The  35  lire  were  placed  to  the  account  of  the 

dodici  in  suso  che  fusi  stimato  valesino  piii  ditti  cholori,  ma  sino  a  ducati 
dodici  non  si  gl'  k  a  fare  buono  altro." 

We  find  that  it  was  varnished  in  the  workshops  of  the  Opera,  and 
placed  in  position  on  May  4th,  in  a  frame  of  gilded  cypress-wood  made 
by  one  Michele  di  Lorenzo,  a  Spanish  carpenter ;  and  a  further  entry 
in  the  books  records  that  the  Opera  paid  12  lire  2  soldi  to  a  Genoese 
painter — perhaps  a  valuer — per  venire  a  vedere  el  quadro  del  chavaliere. 

^  Archivi  detti,  Debit  e  Credit,  161  (477,  92)  26  Giugno,  1540  : 
" .  .  .  .  cinquanta  lire  e  dodici  soldi  sopra  e'  ducati  80  per  chonto  di 
quel  pill  montavano  e'  cholori  de  1'  axuro  intramarino  oltra  a  quelli  si  gli 
era  prima  fatti  buoni  i'  ne  la  somma  de'  ducati  80,  che  si  li  fa  buono  per 
chonto  de  la  pitura  lire  484  soldi  12  e  lire  126  per  e'  cholori  intramarino 
d' achordo  chon  lui  questo  d\  ditto." 

2  Archivi  detti,  Ricordanze,  c.  122(461.  22) :  "...  a  chonto  di  una 
taula  d'  altare  quadra  di  braccia  5^  lungha  e  braccia  4  largha  k  preso  a 
dipingere  in  Pisa  per  in  duomo  per  1'  altare  di  S.  Bartolommeo  e  santo 
Andrea  e  altri  tituli  chon  otto  fighure  e  la  Madonna  e'l  Banbino  al  naturale, 
al  paraghone  de  1'  altre  o  meglo  del  Soglano  che  sono  in  dita  chiexa,  la 
quale  a  dipingere  in  Pisa,  e  per  suo  paghamento  k  avere  ducati  centovinti 
di  lire  sette  per  ducato  per  pagharlli  ogni  15  gorni  ducati  cinque  sino 
alia  somma  di  ducati  80  lavorando  in  dicta  taula,  e  dipoi  k  aspetare  e' 
resto  sino  a  ducati  120  quando  c'  ara  data  la  taula  in  duomo  finita,  chon 
pato  che  gl'  axuri  intramarino  che  vi  meterk  si  gl'  abino  a  paghare  quel 
piu  che  varanno  degl'  altri  axuri  che  sono  in  elle  taule  del  Soglano  oltra 
a  ditti  ducati  1 20  d'  achordo  chon  lui  questo  di." 


"THE   SACRIFICE   OF   ABRAHAM'*  231 

picture  "  (la  ditta  taula  non  d  seghuito  Fachordo  che 
la  faces  se.  Mise  le  lire  J5  a  chonto  del  quadro) :  i.  e. , 
presumably  the  Pieta  before  mentioned. 

Another  painting  was,  however,  commissioned 
by  the  Duomo  authorities  for  a  sum  of  294  lire 
(=  42  scudi),  with  an  additional  74  lire  for  ultra- 
marine ;  and  the  final  balance  owed — a  sum  of 
30  lire  5  soldi — was  paid  by  the  authorities  on 
July  23rd,  1542.^  This  was  the  Sacrifice  of  Abra- 
ham, a  painting  which,  for  force  of  expression  and 
vivid  colouring,  will  bear  comparison  with  the  best 
of  our  artist's  works.  It  so  attracted  French  cupidity 
in  181 1,  that,  not  only  was  a  large  sum  paid  in 
compensation  prior  to  its  removal  to  Paris,  but 
the  Imperial  Government  even  provided  a  fine 
copy  (now  in  the  Pisa  Picture  Gallery)  to  take  its 
place  in  the  Duomo.  Not  for  long,  however,  was 
it  absent ;  for  three  years  later  the  Louvre  was 
compelled  to  relinquish  the  ill-gotten  spoils  of 
Napoleonic  conquest, ^rndthtSacrtficeof  A braham, 
restored  to  Pisa,  is  certainly  the  most  striking  of 
the  paintings  in  the  Tribuna.^  The  composition 
recalls  in  certain  respects  the  ►S.  Sebastian  banner, 
— for  example,  the  flying  figure  in  both  paintings, — 
but  the  figure  of  Isaac  is  of  far  too  feminine  a  cast, 
and  the  colour-tones  of  the  whole  are  too  garish 

^  Archivi  detti.  Ricordanze  c.  21,  p.  13,  (463,  24):  "liretrenta  e  soldi 
5  per  resto  del  quadro,  d'  ogni  altro  lavoro  e  chonto  auto  chon  1'  Opera, 
d'  achordo  con  lui."     Cf.  Appendix  No.  28. 

^  Supino  {^Op.  cit.,  p.  30)  states  that  an  earlier  picture  of  this  same 
subject,  by  one  Niccolb  de  Labrugia  (who  received  210  lire  for  the 
work  on  March  nth,  1536.  Archivi  detti.  Debit  e  credit,  Azzurro  B., 
p.  Ixxiiij.),  had  formerly  hung  in  the  Duomo  sacristy.  Apparently 
it  had  not  given  satisfaction,  and  Bazzi's  work  was  commissioned  to 
supersede  it. 


232  FINAL   PERIOD 

to  bear  close  comparison  with  that  masterpiece. 
Azure  is  indeed  applied  with  an  unsparing  hand  ; 
and,  in  this  respect  certainly,  if  in  no  other,  the 
labourer  was  worthy  of  his  hire. 

We  read  also  at  this  time  of  certain  banners^  that 
the  Opera  directed  should  be  painted  by  our  artist 
to  adorn  the  Duomo  and  Campanile  :  one  of  which 
bore  "  a  figure  of  Our  Lady,  the  Ducal  arms  and 
a  Cross."  For  this  work  he  was  paid  22  lire 
16  soldi  on  August  9th,  1546.^ 

The  accounts  of  the  Opera  testify  further  to 
numerous  cash  advances  obtained  by  Bazzi^  from 
October  31st,  1544,  to  January  27th,  1545,  which 
seem  to  have  been  finally  settled  by  the  artist 
abandoning  all  claim  to  a  canvas  representing 
Christ  bearing  His  Cross,  held  as  security  by  the 

^  As  to  the  use  made  of  these  banners,  cf.  Heywood,  Palio  and  Ponte 
cit.f  p.  14. 

2  Archivi  detti.     Ricordanze,  c.  25,  p.  13*-  (467,  28). 
'  Archivi  detti.     Ricordanze,  cit.  ad  annum,  c.  55*-  (465,  26). 
"  A  di  31  d'otobre  (1544  st.  pis.)  Maestro  Ganantonio  dilacopo  Tissoni 
da  Verse  pittore  de'  dare  lire  dieci  prestatoli  chontanti,  e  a'  lasato  i'  ne 
1'  opera  per  sichurtk  un  quadro  di  braccia  i  ^  in  circha  duv'  e  dipinto 
nostro  Signore  cho'  la  chroce  in  chollo  in  tela         .  .     L.  10. 

E  a  di  6  di  novembre  ducato  uno  d'  oro  portb  lui 

chontanti  chome  di  sopra         .         .         .         .     L.    7,   10 
E  a  di  27  di  genaio  lire  sette  soldi  10  portb  chon- 
tanti in  uno  ducato  d'  oro,  1'  k  dati  Francesco 

e  Paulo L.    7,  10 

E  a  di  ditto  lire  quatro  soldi  18  per  lui  a  Mariano 
di  Leonardo  chontanti  per  sua  chomisione,  e 
ci  libero  per  tutti  e'  sopraditti  ducati  el  ditto 
quadro  d'  achordo,  chon  lui    .        .        .        .     L.    4,  18 

L.  29,  18 


Nota  chome  maestro  Ganantonio  ci  lasb  per  e'  ditti  ducati  el  ditto 
quadro  e  s'  e  chonceduto  a  un  amicho  per  ditto  prego,  perb  si  chancella 
dita  partita." 


S.    MARIA   DELLA   SPINA  233 

authorities.  This  is  not  all,  for  the  entries  carry 
our  knowledge  one  stage  farther,  and  we  learn 
that  this  picture  was  sold  to  a  friend  (amichd) ; 
since  when  it  is  lost  to  our  view,  unless  the  tender, 
almost  effeminate,  work  still  preserved  in  the 
Gallery  at  Lucca  (Room  I.,  No.  12)  be  the  painting 
in  question.^ 

In  1542^  Bazzi  commenced,  for  the  little  church 
of  S.  Maria  della  Spina,  the  large  painting  now  in 
the  Pinacoteca  at  Pisa  (Room  VII.,  No.  28).  For 
this  canvas  he  was  paid  526  lire  10  soldi  in  all  ; 
but  differences  would  appear  to  have  arisen  between 
the  parties,  and  the  last  entry  in  the  accounts^ 
records  that  Bazzi  "held  himself  ill  paid"  {tenevasi 
mal  pagatd).  This  composition  represents  The 
Madonna  and  Child  with  SS.John,  Sebastian,  and 
Joseph  standing,  while  ^'kS.  Mary  Magdalen  and 
Catherine  of  Alexandria  kneel  below.     Frizzoni'* 

^  A  small  painting  executed  for  the  Sacristy  of  the  Certosa  di  Calci  at 
Pisa  (now  in  the  National  Gallery,  London,  No.  1 144) — a  Madonna  and 
Child  enthroned  with  SS.  Peter,  Clare,  and  a  kneeling  Carthusian, 
(from  the  Rosini  Collection)  seems  to  belong  to  this  period.  Cf. 
Giovanni  Rosini,  Storia  della  Pittura  Italiana  Esposto  coi  Monumenti. 
(Pisa:  Niccolo  Capurro,  1838),  vol.  i..  Introduction,  p.  28. 

2  Archivio  detto.  Archivio  degli  Spedali  Riuniti.  S.  Maria  della 
Spina.  Entrata  ed  Uscita  dal  1542,  vol.  1761,  p.  10.  An  entry,  dated 
November  7th,  1542,  records  the  sum  of  10  lire  given  to  a  certain 
ap'"-  Jacomo  for  1 1  braccia  of  wide  cloth  per  dipingere  la  tavola  di  fa  il 
Soddoma  and  cinquanta  lire  to  Andrea  legnaiuolo  per  fare  iltelaio  a  ditta. 

It  would  seem  that  the  word  tavola  was  loosely  used  to  describe  an 
altarpiece,  irrespective  of  the  material  upon  which  it  was  painted. 

There  is  another  entry  on  one  of  the  early  pages  of  vol.  1761  (unnum- 
bered), on  October  31st,  1542,  of  15  lire  to  Sodoma  on  account  by 
M"-  Antonio  da  Chamaffei.  Cf.  also  Leopold©  Tanfani,  Della  Chiesa  di 
S.  Maria  del  Pontenovo  (Pisa:  Nistri.  1871),  pp.  114,  115,  217-18 
(Doc.  XXX.  xxxi.) 

'  See  Appendix  No.  29. 

*  Frizzoni,  Op.  cit.,  p.  177. 


234  FINAL    PERIOD 

suggests  that,  since  S.  Joseph  wears  no  halo,  his 
figure  may  also  be  a  portrait  of  the  painter  himself. 

The  name  of  a  pupil,  not  mentioned  elsewhere, 
now  appears  for  the  first  time  in  these  records,^ 
one  Giovanni  Maria  Tucci,  of  Piombino.  He  is 
little  more  than  a  name,  though  Milanesi^  tells 
us  that  for  i8  gold  ducats  he  painted  a  Madonna 
and  Child  with  SS.  Catherine  of  Alexandria, 
Augustine,  Sebastian  and  a  sainted  nun  (probably 
wS.  Catherine  of  Siena),  ordered  by  the  sisters  of 
the  Convent  of  S.  Catherine  at  Radicondoli.  This 
artist  may,  however,  be  responsible  for  some  of 
the  inferior  paintings  attributed  to  his  master's 
latest  period.  The  large  altar-piece  in  the  choir 
of  the  principal  church  of  Tucci's  native  town, 
Piombino,  is  perhaps  also  his  work.  It  represents 
the  Trinity.  God  the  Father,  wearing  a  Papal 
tiara  and  surrounded  by  saints  and  cherubs  sup- 
ports the  Saviour  on  the  Cross.  Though  a 
very  poor  work,  a  strong  reminiscence  of  Bazzi's 
influence  and  feeling  is  perceptible ;  and  it  might 
well  have  been  executed  by  a  mediocre  pupil. 

Vasari  states  that  from  Pisa  our  artist  went  to 
Lucca,  where  he  painted  for  the  Olivetans, — the 
Order  who  had  first  befriended  him, — a  Madonna 
on  the  dormitory  staircase  of  the  Convent  of  S. 
Ponziano.  This  convent,  long  suppressed,  the 
buildings  destroyed,  and  the  name  transferred  to 
another  community  in  a  different  quarter  of  the 

1  Archivio  detto.  A.S.R.,  S.M.D.S.,  vol.  1762,  p.  6:  '' E  a  d\  20 
ditto  (Feb.  1543)  L.  vintiquatro  s.  died  date  a  giamaria  alievo  del 
Soddoma  per  mettere  nero  al  nostro  adornamento.^' 

^  Vasari,  Op.  cit.,  Conwietitary,  p.  415. 


LETTER    FROM    PIETRO   ARETINO235 

town, — no  trace  of  the  Madonna  remains.  But  a 
painting  of  Christ  bearing  His  Cross  is  still  to 
be  seen  in  the  Lucca  Gallery,  which,  as  we  have 
suggested  earlier,^  was  perhaps  the  guerdon  held 
by  the  commissioners  of  the  Opera  del  Duomo. 

That  Vasari's  chronology  maybe  again  at  fault  as 
regards  this  visit  is  not  unlikely,  but  we  have 
no  longer  any  authoritative  dates  to  guide  us,  save 
a  letter  addressed  by  Pietro  Aretino  from  Venice  to 
Sodona.  The  letter  displays  such  amiable  feelings 
and  expressions  of  regard,  honourable  both  to  the 
writer  and  to  the  recipient,  that  transcription  in 
extenso  will  not  seem  out  of  place.  For  a  moment 
drawing  aside  the  veil  of  reserve,  it  shows  how 
strong  and  enduring  must  have  been  the  tie  exist- 
ing between  these  two  severely  judged  characters; 
since,  after  a  lapse  of  more  than  thirty  years,  senti- 
ment could  inspire  from  a  notoriously  cruel  pen 
such  an  utterance,  addressed  to  an  early  friend, 
whom,  probably,  during  that  interval,  he  had  rarely, 
if  ever,  met. 

To   Sodona   (sic). 

I  in  opening  the  letter  that  you  have  sent  to  me,  and 
reading  your  name  beside  my  own,  felt  even  to  my  vitals, 
as  if  we  were  embracing  each  other  in  real  fact  with  that 
cordial  loving  affection,  with  which  we  used  to  embrace 
when  in  Rome  and  at  the  house  of  Agostino  Chigi,  with 
so  much  delight,  that  we  should  have  been  tormented 
had  any  said  that  we  were  even  one  hour  apart.  But 
in  the  revolutions  of  life  men  wander  so  much,  for  which 
reason  this  man  and  that  man,  these  and  those,  one  and 
another,  are  transported  by  chances  to  live  in  other  places 
that  they  never  thought  of  seeing.     That  is  the  case  with 

1  Cf.  p.  233. 


236  FINAL   PERIOD 

my  cavalier,  a  thousand  times  dear  to  me,  a  thousand 
times  honoured,  a  thousand  times  gallant.  Be  certain 
that  you  have  never  faded  from  my  memory,  that  there 
in  fact  you  will  never  die,  but  ever  become  young  again, 
as  you  would  wish,  in  order  that  I  might  make  us  both 
very  young  again.  But  even  on  this  head  I  say  that, 
even  though  we  were  grown  old  in  years,  are  not  our 
thoughts  ever  young  ?  What  has  one  to  do  with  the 
worth  of  wealth  if  it  is  of  no  other  use  than  to  consume 
the  soul  of  him  who  possesses  it  with  the  misery  of 
anxious  thought,  so  that  he  enjoys  it  the  less  the  more 
he  accumulates  it  ?  I  myself  have  spent  in  this  city  an 
amount  of  treasure  that  even  a  Prince  who  found  it  would 
seem  to  have  enough.  And  if  any  one  justly  reproves 
me  it  pleases  me  the  more  to  be  thought  a  liberal  soul, 
inasmuch  as  that  is  not  the  reputation,  that  I  hope  to 
leave  of  myself  to  the  ages  that  will  come  after  us. 
Truly  we  shall  live  out  the  term  of  life  fixed  by  God ; 
thanking  Him  in  the  meantime  for  His  mercy  in  pre- 
serving one  in  life.  Whilst  so  many  of  our  acquaintances 
are  below  ground,  you  have  not  given  up  your  brush, 
nor  I  my  pen.  Since  we  have  become  famous  in  the 
arts  of  painting  and  writing,  Christ  may  even  grant  that 
we  may  meet  again  also  one  day ;  for  which  I  implore 
His  Goodness  that  it  may  be  soon.  This  juncture  we 
await  the  fortune  of  the  cards.  But  if  it  falls  out  that  you 
do  go,  as  you  tell  me,  to  Piombino,  kiss  his  lordship's 
hand  for  me. 

We  may  notice  that  the  letter  is  dated  August 
1^45,  and  speaks  of  another  visit  to  Piombino 
planned  by  Bazzi.  Whether  this  event  ever 
actually  occurred  we  do  not  know;  for  the  darkness 
of  mute  records  closes  round  our  painter  once  more/ 

^  Tradition  places  one  picture  at  least  during  these  years :  an  injured 
and  blackened  Way  of  the  Cross,  preserved  in  the  Sacristy  of  the  church 
of  S.  Giacomo  in  Siena  {Contrada  delta  Torre).     A  poor  work  and  of 


DEATH    OF    BAZZI  237 

until  the  night  of  February  14th — i^th,  iS49 ; 
when  a  letter^  (dated  the  15th),  written  by  Ales- 
sandro  Buoninsegni  to  his  brother  Bernardino 
(then  Ambassador  at  Naples),  mentions  casually, 
among  other  items  of  general  import — ''  IlCavaliere 
Sodoma  quest  a  notte  si  d  mortoT 

Thus  closes  the  career  of  this  much  abused  man  ; 
yet  it  should  be  reiterated  once  again  that  no  tangi- 
ble support  obtains,  for  the  oft-repeated  allegations 
with  respect  to  years  of  want,  and  death  in  a  Public 
Hospital.  It  was  during  his  absence  at  Pisa  that 
his  only  daughter  married  his  pupil  Riccio,  with 
the  substantial  dowry  of  100  florins  :  an  amount 
which — corresponding  as  it  does  with  the  marriage 
portions  of  his  own  mother  and  sister,  and  with 
those  of  the  Spanzotto  family — would  tend  rather 
to  class  him  among  the  well-to-do  citizens  of  his 
day.  From  this  fact,  and  from  the  Inventory  of 
goods,  chattels,  and  property,  to  which  his  wife 
took  out  Letters  of  Administration,^  made  on  the 
very  day  of  Bazzis  decease ;  and  further,  from  the 
letter  written  by  Niccolo  Trappolini  toAlessandro 

very  inferior  merit,  it  is  undoubtedly  by  Bazzi  himself,  and  not,  as  the 
authorities  of  the  Exhibition  of  Sacred  Art  in  Siena,  1904,  have  erroneously 
chosen  to  call  it,  "  after  him  "  {inaniera  del  Sodoma). 

^  Archivio  di  Stato  di  Siena.  Filza  35  deUe  Lettere^  2447-9. 
Lettere  agli  Ambasciatori  scritte  da  particolari persone,  1547-8. 

2  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Luca  di  Mariano  Salvini 
d"  Asciano.     No.  2386,  Rep.  A,  Busta  941.    Cf.  Appendix  No.  31. 

For  want  of  evidence  to  the  contrary,  the  inference  to  be  drawn  from 
this  document  would  be  that  he  had  died  in  his  own  house.  It  is  worth 
noting  from  the  same  source  of  evidence  that  he  is  distinctly  designated 
as  '•^ Johannes  Antonius  Sodone."  Mention  is  also  made  of  a  picture  of 
Christ  appearing  to  His  Mother  after  His  Resurrection,  which  may  be 
identified  in  the  work  now  belonging  to  the  Contessa  Zucchini  Solimei 
at  Bologna. 


238  FINAL    PERIOD 

Corvini  (published  both  by  Bottari^  in  the  Lettere 
Pittoriche  and  Francesco  Turchi  in  the  Lettere 
Facete),  we  may  safely  conclude  that  his  last  days 
were  not  beset  by  want.  So  that  Vasari's  gibe, 
Cavaliere  senza  entrate  (Cavalier  without  an 
income),  in  adding  yet  another  picturesque  touch 
to  the  portrait  of  his  victim,  can  only  cause 
amusement  where  he  would  arouse  contempt. 

1  Bottari,  Op.  cit. ;  Turchi,  Op.  cit. 


CHAPTER  X 

SCHOLARS 

If  my  readers  have  followed  me  thus  far,  they 
will  agree  that,  although  the  impress  left  by  Bazzi 
upon  Sienese  Art  was  deep  and  far-reaching — 
in  the  event  of  doubtful  advantage  to  the  public 
taste — he  cannot  be  said  to  have  actually  formed 
a  school  of  his  own.  His  imitators  were  many,  but 
his  scholars  were  extremely  few.  Three  of  these — 
Vincenzo  Tamagni,  Matteo  Balducci  and  Giovanni 
Maria  Tucci — have  been  briefly  discussed  in  the 
place  they  filled  in  their  master's  life.  A  fourth, 
Michel  Angelo  Anselmi,  has  also  been  noticed;  and, 
although  he  became  in  time  a  painter  of  some  dis- 
tinction and  no  little  local  fame,  it  is  not  as  Bazzi's 
pupil,  but  asCorreggio's,that  his  name  has  survived 
to  the  present  day.  Of  Giacomo  Pacchiarotto  and 
Girolamo  del  Pacchia,  both  included  by  Milanesi 
in  his  Commentary  on  Vasari's  Life  of  Bazzi, 
among  our  hero's  followers,  there  is  indeed  much 
to  be  said.  But  since  the  former  never,  as  far  as 
can  be  ascertained,  had  any  close  relations  with 
Bazzi,  and  the  latter  was  at  best  but  an  able 
imitator,  these  two  play  no  necessary  part  in  a 
record  of  the  elder  painter's  Life. 

Nevertheless  three  names  remain  deserving  at 
any  rate  some  mention.    Since,  however,  we  do  not 

239 


240  SCHOLARS 

propose  to  write  complete  lives  of  Bazzi's  pupils, 
we  would  once  more  refer  the  interested  inquirer 
to  Milanesi's  Commentary  aforesaid. 

Girolamo  Magagni — better  known  from  his 
appellation  Giomo  del  Sodoma — stands  first,  both 
in  order  of  time  and  of  notoriety.  The  son  of  one 
Francesco  di  Mariano  di  Stefano  Magagni,  a 
barber,  by  his  wife  Caterina  (daughter  of  a  certain 
Giacomo,  a  sawyer),  he  was  born  in  October  1507 ; 
and  we  have  already  heard  how,  during  his  master  s 
illness  in  Florence,  he  removed  a  number  of  objects 
of  value  from  the  studio  in  Siena. 

According  to  Vasari  ^  Giomo  died  young ;  but 
since,  as  Milanesi  points  out,^  he  made  his  Will  on 
April  23rd,  1562^ — with  a  codicil  on  the  26th  of  the 
same  month  in  the  following  year — we  must  con- 
clude, setting  the  date  of  the  summons  (1527)  side 
by  side  with  that  of  his  death,  that  he  could  not 
have  been  less  thanfiftyyearsof  age  at  his  decease  in 
1563.  We  learn  furthermore  that  he  died  in  May, 
for  on  the  nth  of  that  month  an  inventory  of  his 
goods'*  was  taken  on  behalf  of  his  sister  Elisabetta. 
This  lady  married  twice — first,  Girolamo  di  Gio- 
vanni of  Como,  and  secondly,  Niccol6  di  Lorenzo 
Bonelli,^  both  armourers  by  trade.  Girolamo 
Magagni  himself,  as  far  as  can  be  ascertained, 
died  a  bachelor. 

*  Vasari,  Op.  cit.^  p.  399. 

2  Vasari,  Op.  ctt,  Commentary,  p.  409. 

'  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Giovanni  Billo.  ad 
annum.  He  is  here  described  as  Frovidus  vir  magister  Hieronimus 
quondam  magistri  Francisci  de  Magagnis,  vulgariter  nuncupatus  del 
Soddoma  pictor  de  Senis,  etc. 

*  Archivio  detto.    Inventarj  di  Ser  Baldassare  Corti,  No.  848. 
'  Cf.  ante,  p.  191. 


GIOMO   DEL   SODOMA  241 

The  paintings  actually  known  to  be  by  Giomo 
are  few  in  number,  though  it  is  probable  that  a 
great  deal  of  the  inferior  work  which  passes  under 
the  master's  name  should  rather  be  allotted  to  the 
pupil ;  and  his  share  was  doubtless  no  slight  one 
in  much  of  the  later  work  that  received  Bazzi's 
finishing  touches.  An  attractive  painting  of  the 
Madonna  and  Child,  with  a  female  saint,  a  bishop, 
and  an  angel  playing  on  a  lute,  over  the  first  altar 
to  the  right  in  the  little  church  of  S.  Mustiola  in 
Siena,  is  perhaps  the  best  example  of  Magagni's 
work.  The  small  chapel  at  the  foot  of  the  hill, 
crowned  by  the  convent  of  the  Osservanza,  near 
Siena,  contains  a  fresco  (now  much  damaged)  com- 
menced by  this  painter  with  the  assistance  of  one 
Niccol6  di  Pietro.  This  work  was  completed  by 
Riccio,  who,  in  company  with  one  Giorgio  di 
Giovanni,  had  valued  it  on  April  3rd,  1549.  Aided 
by  the  same  Niccol6,  Giomo  in  1550  also  painted 
and  gilded  the  organ  of  the  chapel  of  the  Madonna 
del  Voto  in  the  Duomo. 

Lorenzo  Brazzi,  better  known  as  il  Rustico,  was  a 
fellow-student  of  Giomo,  and,  Milanesi  tells  us,  also 
one  of  Bazzi's  pupils.  The  son  of  one  Cristoforo 
Brazzi,  a  builder  and  architect^  from  Piacenza,  he 
was  born  in  1521,  and  from  him  descended  the 
family  of  Rustici  (afterwards  ennobled),  whilst  his 
brother  continued  the  line  of  Brazzi.  We  read  that 
he  was  extremely  ill-favoured,  but  of  sprightly  wit 
and  humour  withal :  wherefore  his  fellows  of  the 

*  Milanesi  MSS.,  P.  III.  52,  p.  311.  Here  we  are  told  that  "  Cristo- 
foro Brazzi  da  Piacenza  muratore  ed  architetto  muore  di  ferite  in  Siena 
nel  1545." 

16 


242  SCHOLARS 

Accademia  dei  Rozzi  gave  him  the  additional 
nickname  of  Cirloso.  According  to  Mancini,^  // 
Rustico  was  thrown  into  prison  for  devising  the 
following  political  practical  joke.  Being  commis- 
sioned to  paint  a  shield  of  the  Grand  Ducal  arms, 
he  adapted  hinges  to  the  Medici  balls,  alleging 
as  a  reason  for  such  a  piece  of  mechanism  that 
they  could  thus  be  conveniently  removed  should  a 
change  of  government  occur.  In  1550  he  executed 
certain  stucco  decorations  in  the  house  of  Vincenzo 
Paccinelli,^  and  in  1555  some  frescoes  in  the  chapel 
of  the  Compagnia  di  S.  Michele.  We  find  him  in 
the  following  year  engaged  in  a  lawsuit  with  a 
barber,  named  Bartolommeo  da  Asti,  concerning 
certain  paintings  for  the  latter's  shop.  Two  of  the 
three  vaulted  ceilings  of  the  Loggia  di  Mercanzia 
in  Siena  were  decorated  by  him  in  fresco  in  1554 
and  1568  respectively;  and  during  the  last  years 
of  his  life  he  commenced  another  series  of  ceiling 
paintings — a  commission  previously  allotted  to 
Riccio,  but  rejected  by  him — for  the  Confraternita 
delta  SS.  Trinita.  These  works  were  left  incom- 
plete at  his  death,  and,  being  subsequently  much 
damaged,  were  repainted  between  1595  and  1602 
by  Ventura  Salimbeni.  Lorenzo  Brazzi  died  on 
June  loth,  1572,  aged  51,  and  was  buried  in  the 
family  vault  in  S.  Domenico,  Siena. 

To  attempt  a  comprehensive  history  of  the  life 
and  work  of  Bartolommeo  Neroni,  or  Negroni 
{jl  Riccio),  our  painter's  son-in-law  and  closest 

^  Giulio  Mancini,  Ragguaglio  delle  Cose  di  Siena.  MS.  Bib.  Com. 
di  Siena. 

2  Archivio  detto.  Rogiti  di  Ser  Alessandro  Arrighetti,  Filza  14  de, 
Lodi.     No.  98. 


IL    RICCIO  243 

imitator,  would  overcrowd  our  already  well-filled 
space.  His  name  and  connection  with  our  hero 
has  already  justified  his  frequent  appearance  in  our 
pages, ^  leaving  but  little  more  to  add.  Documents 
referring  to  his  private  affairs  tell  us  that  his 
father's  name  was  Sebastiano;  and  Milanesi^  sug- 
gests, since  allusion  is  made  in  a  letter  by  him 
dated  1540  to  certain  relatives  in  Florence,  that  he 
was  by  birth  a  native  of  that  city.  Certain  it  is, 
however,  that  the  greater  portion  of  his  life  was 
spent  in  or  near  Siena.  A  number  of  Riccio's 
paintings  are  recorded  in  the  Commentary'^ — 
among  them  a  portrait  of  Charles  V.'s  viceroy  in 
Siena,  Don  Diego  de  Mendoza;  and  he  would  seem 
to  have  been,  if  not  actually  a  genius,  at  any  rate 
a  man  of  versatile  talent,  employed  to  design  or 
to  advise  in  a  multifarious  variety  of  artistic  and 
kindred  matters.  Early  in  life  he  painted  in  minia- 
ture a  set  of  twenty-one  Scenes  from  the  Life  of 
S.  Benedict,  copied  from  his  father-in-law's  cele- 
brated Monte  Oliveto  Acts,  in  four  Missals  for  the 
Olivetan  Convent  of  Final  Pia  (now  suppressed), 
which  are  preserved  in  the  Palazzo  Bianco,  Genoa. 
A  portrait  of  the  artist  himself,  a  lad  with  long  fair 
locks,  included  in  this  series,  is  evidence  of  his 
youth  at  the  time  of  their  execution.  Vasari 
tells  us  of  designs  for  church-furniture  in  great 

^  See  above,  pp.  223  and  224  and  notes,  and  p.  237. 

^  Vasari,  Op.  cit.,  Commentary,  p.  412.  The  same  writer  in  his  MS. 
Notes,  P.  III.  50,  p.  140,  informs  us  that  he  was  attacked  by  his  brother 
Francesco  in  1534  and  severely  wounded :  nel  1534  "J/"  Bartolomeo 
de  Riccis  (il  Riccio)  fu  assalito  una  sera  da  un  tal  Fraticesco  del  Riccio 
suofratello  eferito  nel  vitaP 

^  Vasari,  Op.  cit.,  Commentary,  pp.  412-15. 


244  SCHOLARS 

variety,^  architectural  works,  triumphal  arches  (in 
1 541),  and  theatrical  scenery,^  besides  plans  and 
elevations  for  the  fortifications  of  Siena  and  its 
smaller  subject  towns  and  castles  (castelli). 

Bartolommeo  Neroni's  paintings,  especially  those 
of  sacred  subjects,  are  mostly  a  somewhat  feeble 
echo  of  his  teacher's  ideas,  and  his  fame  rests 
principally  on  the  design  and  execution  of  the 
marble  pulpit-stairs,  and  the  magnificent  choir- 
stalls  ^  and  sedilia  in  the  Duomo  of  Siena.  Riccio 
resided  for  some  time  in  Lucca — indeed,  Vasari 
states  that  he  was  living  there  at  the  date  of  the 
first  publication  of  Bazzi's  Life.''  After  the  death 
of  Bazzi's  daughter  Faustina,  he  took  as  his  second 
wife  Giuditta,  daughter  of  Giovanni  di  Giuliano 
Giovanangelo.^  The  gout,  a  malady  from  which 
he  appears  to  have  suffered  severely  in  his  later 
years,  carried  him  off  in  June  1571,  after  he  had 
executed  a  Will  on  the  14th  of  the  same  month, ^ 
whereby  he  bequeathed  all  his  property  to  the  two 
daughters  of  his  first  marriage. 

Riccio  is  the  last  link  in  the  chain  of  Bazzi's 

^  Magnificent  examples  of  these,  executed  in  oak,  walnut  and  other 
choice  woods,  are  still  to  be  seen  in  many  of  the  Sienese  churches. 

^  We  are  told  by  Milanesi  that  on  the  occasion  of  the  visit  of  Duke 
Cosimo  di  Medici  to  take  possession  of  the  city,  Riccio  designed  a 
proscenium  for  the  performance  of  " P Ortensio,"  a  comedy  by  Alessandro 
Piccolomini,  and  performed  by  the  members  of  the  Societa  degli  Intronati. 
This  proscenium  was  painted  by  Andrea  Andreani  of  Mantua. 

^  We  have  seen  above  (p.  224,  note  ^)  how  one  of  his  daughters  tried 
to  recover  170  ducats  for  a  design  for  the  principal  stall. 

*  Vasari,  Op.  cit.,  p.  399. 

^  Cf.  p.  222,  note  ^. 

^  Milanesi  MS.,  P.  III.  49,  p.  427%  makes  reference  to  this  Testa- 
ment thus: — Ser  Flaminio  Micheli  No.  3377.  1571,  14  Giugno.  In 
spite  of  a  most  careful  search,  however,  it  cannot  now  be  traced. 


SUMMARY  245 

scholars  in  the  narrower  sense  of  the  term :  the 
chain  that  connects  two  centuries  of  Art.  He  is 
the  last  exponent  of  the  restrained  style  and 
methods  of  the  Quattro-  and  early  Cinque-cento, 
whose  merits,  so  soon  forgotten  by  the  later 
Eclectic  Sienese,  were  remembered  only  where 
a  weakness  could  be  copied,  a  defect  exaggerated, 
or  a  mannerism  perpetuated,  to  the  untold 
detriment  of  the  culture  and  taste  of  subsequent 
centuries.^ 

In  summing  up  the  life  of  so  remarkable  a  man 
and  artist  as  Giovanni  Antonio  Bazzi,  we  must 
first  clear  our  thoughts  of  all  prejudice  raised  by 
writers  like  Vasari,  who,  by  the  art  of  ''  suggestio 
falsi''  and  '' siippressio  veri,''  have  presented  us 
with  a  distorted  likeness ;  and  we  must  equally 
set  aside  all  weakly  sentiment  prompted  by  the 
effect  upon  us  of  two  or  three  of  his  most 
celebrated  paintings.  Between  the  Scylla  of  the 
one  and  the  Charybdis  of  the  other,  to  strike  a 
happy  mean  is  no  easy  task.  This,  nevertheless, 
is  what  we  have  here  attempted ;  placing  in  a  clear 
light  all  the  ascertained  facts  that  tell  both  ways, 
and  leaving  the  reader  to  judge  and  draw  his  own 
final  conclusions  on  the  complex  nature  of  this 
exceptional  character. 

We  are  cognizant  of  the  many  pitfalls  that  Art- 
Historians  of  an  earlier  age  have  stepped  into  when 
venturing  upon  conclusions  with  regard  to  the 
private  life  of  painters,  drawn  from  the  visages 

*  Cf.  Walther  Rothes,  Die  Bluthezeit  der  Sienesischen  Malerei.    Strass- 
burg  :  J.  H.  Heilz  &  Mundel.     1904. 


246  SCHOLARS 

of  their  Madonnas  and  Saints.  Yet,  in  laying 
bare  the  personality  of  Giovanni  Antonio  Bazzi, 
displayed  in  his  existing  works,  one  very  striking 
feature  intrudes  itself  upon  our  notice  ;  a  feature 
which  assists  us  in  no  small  degree  to  explain  his 
character  as  a  man.  The  subject  of  our  inquiry, 
from  all  time  past,  has  been  pilloried  as  an  example 
of  Vice  Personified.  But  what  does  his  work 
reveal  ?  Is  it,  indeed,  as  Vasari  freely  asserts,  full 
of  "  lewd  "  suggestion  ? — Not  at  all.  On  the  con- 
trary, when  opportunity  and  temptation  are  almost 
forced  upon  him,  how  steadfastly  does  he  avoid  all 
semblance  of  vicious  intent !  how  constantly  does 
he  keep  before  our  eyes  the  ideal  purity  of  maiden- 
hood !  That  he  worshipped  beauty  of  a  sensuous 
type, — and  especially  so  in  the  human  form, — is 
very  evident,  since  he  paints  the  nude  with  a  lover's 
brush.  But  where,  may  we  ask,  in  the  entire  cycle 
of  his  nude  types,  is  there  one  that  can  foster 
licentious  thought?  His  Eve  in  the  Siena  Academy 
is  the  most  modest  representation  of  the  Mother  of 
All  Flesh  in  the  whole  range  of  Art ;  his  drawings 
for  a  Leda  suggest  beauty  alone,  illustrating  a 
legend  and  nothing  else.  All  his  classical  person- 
ages are  instinct  with  the  same  sense  of  restrained 
loveliness.  Where  could  a  young  man  of  excep- 
tionally imaginative  temperament,  in  the  fulness 
of  life  and  vigour,  have  had  a  stronger  temptation 
to  indulge,  were  he  so  minded,  in  lascivious  motive, 
than  in  the  famous  fresco  at  Monte  Oliveto?  Yet 
even  there  the  graceful  and  fascinating  courtezans 
appeal  to  the  intellectual  rather  than  to  the  material 
sense.    It  is  of  no  consequence  whether,  as  tradition 


^■fuH^foftu^i.^^.  ta.*w^- 


Photo:  MoiU(boni. 


HEAD   OF   LEDA. 
DRAWING. 

CASTELLO   SFOKZESCO,    MILAN. 


To/ace  f>.  246. 


SUMMARY  247 

tells  us,  these  fair  damsels  were  originally  designed 
nude  or  not.  It  is  in  the  grace  of  their  bearing  and 
the  naiveU  of  their  personal  charm  that  tempta- 
tion to  the  monks  would  have  had  to  reside,  rather 
than  in  any  evil  suggestion  intentionally  aroused 
by  the  artist  himself. 

Let  us  take  even  a  stronger  instance.  When 
the  painter,  in  the  zenith  of  his  artistic  and  social 
fame, and  in  the  primeof  his  manhood,  is  summoned 
by  one  of  the  wealthiest  and  most  dissolute  men 
of  the  time, — living  in,  maybe,  the  most  dissolute 
age  of  history — the  ornament  and  envy  of,  perhaps, 
the  most  dissolute  court  in  Europe, — to  decorate 
his  bedchamber,  a  subject — The  Marriage  of 
Alexander  and  Roxana — is  chosen,  exalted  and 
beautiful  indeed,  but  capable  of  the  most  suggestive 
treatment.  Howdoesour  artist, amid  surroundings 
and  among  companions  of  a  character  sufficient  to 
turn  the  head  of  the  purest-minded  (as  it  undoubtedly 
did  turn  that  of  the  "  Divine  Raphael"),  treat  this 
opportunity  ?  Does  he  indulge  in  the  pruriency 
of  Giulio  Romano  and  other  scholars  of  the  Prince 
of  Painters?^  Nothing  of  the  kind.  Heembroiders 
on  Lucian's  canvas  one  of  the  purest  and  most 
idyllic  conceptions  of  the  Renaissance :  a  compo- 
sition that,  in  an  age  where  Classical  Myth  and 
Ecclesiastical  Symbolism  were  so  frequently  inter- 
mingled, might  truly  almost  pass  for  an  illustration 
of  the  Mystic  Marriage  described  in  the  Canticles, 
and  applied  by  the  Church  to  Herself. 

^  As  an  example  the  reader  need  only  be  referred  to  the  work  of 
these  artists  in  the  Reception-rooms  of  the  Corte  Reale  and  the  Palazzo 
del  Tfe  at  Mantua. 


248  SCHOLARS 

Bazzi's  composition  may  often  be  faulty,  whilst 
time  and  the  hand  of  man  have  laid  a  destructive 
stigma  upon  this  great  work;  but  where  in  pictorial 
art  can  there  be  found  a  lovelier  and,  at  the  same 
time,  more  ideal  type  of  the  Classic  ''  Pudicitia' 
than  Roxana?  The  entire  composition  is  fraught 
with  graceful  fancy  and  penetrating  charm,  yet  not 
a  breath  of  course  suggestion  sullies  our  thoughts  ; 
whilst  the  religion  of  ideal  beauty  overwhelms 
the  senses,  and  no  disturbing  shadows  arise  to 
break  the  spell.  Well  might  Rosini^  exclaim, 
"If  Raphael  had  only  chosen  Bazzi  as  his  helper 
instead  of  Giulio  Pippi,  what  might  he  not  have 
become  ?  " 

Bazzi's  Madonnas  perhaps  tell  us  little  more 
than  that  they  are  lovely.  They  exhibit  scarcely 
anything  of  that  appearance  of  aloofness  from 
ordinary  life — above  and  beyond — so  characteristic 
in  the  Art  of  his  predecessors ;  nor,  likewise,  do 
they  present  us  with  the  handsome  peasant  or 
fascinating  courtezan  type  adopted  by  his  suc- 
cessors. His  ideal  was  clearly  a  noble  one ; 
his  figures  of  either  sex  and  of  all  ages  are  fine, 
well  chosen,  and  generally  carefully  characterized. 
The  special  point  about  them  during  his  best 
period  is,  that  they  breathe  a  sentiment  of  natural 
ease,  as  though  the  artist  had  obtained  from  his 
model  all  he  desired  to  express  at  once ;  without 
effort  or  strain  to  secure  effects.  There  is  an  un- 
affected simplicity  in  their  mien ;  no  second  thought 
or  mental  reservation ; — so  much  so,  indeed,  that  all 
that  they  tell  us  about  themselves  may  be  summed 

1  Rosini,  Op.  cit.^  vol.  v.  p.  48, 


^'.Ai^^^^t^  J/^hffip^'rtuHi^f^  ff".u^^-/Jru£^fL . 


^yly^a^  (Tf^^y^TXy^l'Uidofin.ay . 


ua^ 


Tara 


n^A^ ^^fufme^. 


SUMMARY  249 

up  in  two  words,  Purity  and  Refinement.     In  this 
gift  lies  the  artist's  supreme  charm. 

From  the  foregoing  conclusions,  indeed,  we  may 
surely  take  it  for  granted  that  Bazzi's  was  a 
character  of  impulse  and  passion,  upon  which  he — 
perhaps  too  often — acted  without  thought  for  the 
consequences.  The  spontaneity  of  his  technique, 
leading  to  the  careless  composition  and  slovenly 
execution  of  so  much  of  his  work — faults  which 
were,  and  remain  yet,  the  despair  of  the  Art-critic, 
who  knows  not  how  to  hold  the  balance  true  between 
the  painter's  merits  and  defects — was  paralleled,  no 
doubt,  in  his  daily  life  by  acts  of  similar  thought- 
lessness. All  the  traditions  and  tales  about  him, 
good  and  bad  alike,  show  him  to  us  as  the  play- 
thing of  chance  and  sudden  emotion  :  a  true  child 
of  his  age,  born  when  the  Renaissance  had  reached 
its  zenith,  and  dying  with  its  knell  sounding  in 
his  ears.  His  age  failed  in  comprehension  of  his 
"  artistic  temperament " ;  and  whilst  heaping  praise 
upon  his  vagaries,  sought  revenge  by  condemning 
his  morals.  Men  like  Vasari,  with  their  sense  of 
proportion  obscured  in  the  exclusive  admiration 
of  giants  such  as  Michelangelo,  and  with  their 
critical  judgment  wrapped  in  the  aesthetic  cere- 
clothes  of  the  Schools  of  Art  founded  by  that  great 
leader  and  by  Raphael,  could  not  justify  to  them- 
selves the  raison  d'etre  of  a  man  who — although 
willing  to  be  influenced  by  splendid  example — yet 
rebelled  at  confinement  within  the  straitened  lines 
and  imitative  tendencies  of  any  coefiaculum  what- 
ever. It  is  instructive  to  followtheevolution  of  those 
artists  who,  commencing  under  his   instruction. 


250  SCHOLARS 

drifted  away  into  other  schools.  Instances  of 
such  are  Daniele  da  Volterra  and  Michel  Angelo 
Anselmi.  In  both  these  painters,  incipient  grace — 
almost  attaining  to  originality — imbibed  from  their 
earlier  master,  is  too  soon  submerged  in  eclectic 
mannerism.  The  first  masquerades  in  the  grand 
style  of  Michelangelo;  the  latter  imitates  tolerably 
well  the  prettiness,  exaggerated  tenderness  and 
washed-out  colouring  of  Correggio's  Parmesan 
period.  The  result  in  both  cases  is  a  verdict  of 
mediocrity. 

Hence  Bazzi  in  his  day  could  only  win  for 
himself  the  well-deserved  commendation  of  those 
capable  of  discernment, — the  few  who  could  see  the 
light  of  genius  shining  through  his  errors ;  and 
modern  taste  has  done  justice  at  last  in  restoring 
him  to  that  place  among  the  painters  of  the 
Renaissance,  which  he  so  fully  deserves. 

No  worse  fate  could  befall  our  hero  than  to  be 
branded  with  the  stamp  of  precursorship  of  the 
"  Eclectic  School";  and  if  this  essay  has  succeeded 
even  remotely  in  ''giving  the  Devil  his  due,"  the 
seed  sown  in  these  pages  will  not  have  fallen  on 
barren  ground. 


APPENDIX 

NOTE  ON  THE  VARIOUS  PORTRAITS  OF 
BAZZI   BY  HIMSELF  AND  OTHERS. 

There  are  a  large  number  of  portrait-heads,  chiefly 
introduced  into  frescoes  and  compositions  of  large 
dimensions,  which  tradition  more  or  less  authenticated 
states  to  be  presentments  of  Bazzi.  With  one  exception 
they  are  all  painted  by  the  artist  himself.  A  comparison 
between  them  not  only  raises  a  number  of  interesting 
questions,  but  tends  to  show  that  many  of  these  so-called 
portraits  cannot  possibly  be  the  person  whom  they  are 
said  to  represent 

The  single  portrait  which  must  ever  form  the  basis 
of  any  inquiry  on  this  point  is  the  youthful  likeness  at 
Monte  Oliveto,  painted  in  May  1506,  and  recorded  by 
Vasari,^  This  has  been  described  so  often,  and  is  so  well 
authenticated,  that  we  may  take  it  for  granted  that  it  is  a 
speaking  effigy  of  our  painter  as  he  then  stood  before  the 
world.  Although  the  features  are  sufficiently  striking  and 
marked  to  provide  us  with  indications  whereby  we  should 
identify  the  likeness  elsewhere,  it  is  nevertheless  no  easy 
matter  to  recognize  these  lineaments  in  the  portrait 
coming  next  in  order  of  date,  the  authority  for  which 
is  no  less  important  a  critic  than  Morelli  himself.  The 
figure  of  a  man  standing  beside  Raphael  in  the  large  fresco 

^  Vasari,  Op.  cit.,  p,  383.  Padre  de  Angelis,  as  we  have  said 
{supra,  p.  69  note  ')  in  his  Ragguaglio,  etc.,  sees  a  portrait  of  Bazzi 
as  a  youth  in  the  angel  of  the  Leccetto  Nativity  (Siena  Academy, 
Room  XL  No.  512.) 


252  APPENDIX 

of  the  School  of  Athens  at  the  Vatican,  was  long  supposed 
to  be  the  portrait  of  Perugino,  and  maudlin  sentiment  ran 
riot  over  the  alleged  attachment  between  Master  and  Pupil, 
that  secured  its  introduction  into  this  important  compo- 
sition. Morelli,  however,  asserted  that  the  personage 
represented  was  Bazzi,  and  again  a  flood  of  more  or  less 
vapid  talk  burst  forth  :  this  time  concerning  the  friendship 
— not  improbable,  indeed,  even  on  other  grounds — existing 
between  these  two  artists. 

We  hear,  likewise,  of  two  more  actual  portraits,  both 
recorded  by  Vasari ;  neither  of  which  have  come  down  to 
us.  These  were  introduced  into  the  frescoes  of  Christ  at 
the  Column  (in  the  Cloister  of  S.  Francesco),  and  the 
Nativity  (over  the  Porta  Pispini)  respectively.  In  the  first 
he  was  represented,  we  are  told,  beardless,  but  with  flowing 
hair  ;  ^  and  in  the  other  as  an  old  man  with  a  beard.^  It 
is  most  unfortunate  that  both  of  these  portraits  have 
disappeared ;  since  from  them  we  might  have  derived  the 
necessary  landmarks  to  assist  us  in  identifying  the  other 
traditional  likenesses.  The  chief  of  these  are  as 
follows  : — 

The  Soldier  in  Armour.     Descent  from  the  Cross. 

(Siena  Academy.)     No.  413. 
S.    Roch  in  the  group  on  the  reverse  face  of  the 

S.  Sebastian  Banner.     (Uffizi.) 
The    shepherd     looking    on    between     two    trees. 

Adoration  of  the  Magi.    (S.  Agostino,  Siena.) 
One   of   the  sleeping  soldiers  in  the  Resurrection. 

(Pal.  Pubblico,  Siena.) 

1  Vasari,  Op.  cit.,  p.  388. 

2  Vasari,  Op.  cit.,  p.  396.  It  is  perhaps  worth  noting  that  in  an  edition 
of  Vasari  which  appeared  in  t8ii,  with  portraits  of  the  painters  attached 
to  each  Life,  that  given  to  Bazzi  is  of  an  elderly  man  with  a  beard,  and 
resembles  no  likeness  of  him  at  present  existing.  At  that  date  the  lower 
part  of  the  Porta  Pispini  fresco  was  still  tolerably  preserved ;  and  it  is 
just  possible  that  this  engraving  may  have  been  taken  from  the  lost 
portrait. 


MONTE   OLIVETO   MAGGIORE. 

Pholo:  A  till 


DRAWING. 
UFKIZI,    FI.OKENXE. 

Photo  :  H.  Housrhton. 


Ul'FIZI,    Kl.OKENCE. 

Photo:  Alih 


PORTRAITS   OF   GIOVANNI   ANTONIO   BAZZI   BY   HIMSELF. 


PORIRAIT  OF  A  BEARDED  MAN. 
PASTEL. 

liRITISH    MUSEUM,    LONDON. 

Photo  :  Braiin  Clement  &*  Cie. 


PORTRAIT   OF 

A   iMILANESE   NOBLEMAN  (?). 

DRAWING. 

AI.BERTINA,    VIENNA. 


OTHER   PORTRAITS   BY   THE   SAME   MASTER. 


To  face  p.  252. 


''<^"  OF  THE 

£4LIFbR3i^ 


PORTRAITS   OF    BAZZI  253 

To  this  number  Frizzoni  would  add  the  S.  Joseph  in  the 
large  painting  {Madonna  and  Saints)  in  the  Pisa  Gallery/ 

Whether  these  figures  be  one  and  all  really  portraits  is 
a  matter  of  great  uncertainty.  It  is  probable,  though, 
that  the  very  bold  masculine  type,  which  recurs  so 
frequently  in  his  work — notably  the  figure  in  the  fore- 
ground of  the  Resurrection  at  Naples — is,  if  not  an  exact 
likeness  of  himself,  at  least  fashioned  after  his  own  cast 
of  countenance. 

Besides  these  we  have  two  oil  paintings  in  Florence 
in  the  Uffizi  and  Pitti  Galleries  respectively,  both  said 
to  be  likenesses  of  the  painter.  The  finer  of  the  two, 
preserved  in  the  Collection  of  Artists'  Portraits  (No.  282) 
in  the  Uffizi,  represents  a  powerfully  built,  handsome  man 
in  early  middle  life.  Although  we  are  pertinently  assured 
that  Bazzi  himself  stands  before  us,  it  is  not  easy  to  trace 
here  the  features  of  the  gallant  of  Monte  Oliveto  days.^ 

The  other  portrait,  in  the  Pitti  Gallery  (Room  XI.), 
in  spite  of  the  high  thin  nose,  which  at  first  sight  seems 
so  unlike  our  painter,  offers  on  closer  inspection  a  much 
greater  resemblance  to  him  as  he  may  have  looked  later 
on, — a  sadder  and  perhaps  a  wiser  man.  This  painting  is 
by  no  means  so  fine,  and  the  panel  appears  to  have  been 
lengthened  at  the  bottom  and  repainted  by  a  later  hand.^ 

A  small  picture  with  Gio.  Ant.  Razzi,  P.S.,  written 
upon  the  face,  and  Razzi  detto  il  Sodoma — Pittore  Senese 
Giovanni  Antonio  di  Jacomo  on  the  back,  is  to  be  found 

^  See  above,  p.  233. 

^  Romagnoli,  building  on  the  Vergelle  tradition,  makes  out  that  the 
scenery  behind  actually  represents  Vergelle  with  the  Casa  Savini  in  the 
distance,  in  which  house  he  states  that  Bazzi  was  born. 

^  Delia  Valle  {Op.  cit.^  p.  255)  speaks  of  two  portraits  in  the 
Florence  collection  as  follows  : — "  Finalniente  in  galleria  a  Firenze  nella 
Stanza  de' rittratti,  due  ve  n'ha  di  Gio.  Antonio,  dipinti  dalui  medesimo 
il  primo  lo  dimostra  in  eta,  di  45  in  50  anni,  e  sotto  si  legge  :  Gio 
Antonio  da  Vercelli.  Nella  seconda  stanza  ritrasse  se  stesso  di  maggiore 
eta,  e  in  un'  aria  di  un  vecchio  robusto,  e  pieno  di  energia.  In  esso 
dichiara  1'  onore,  a  cui  fu  assunto  dai  Sanesi,  con  ammetterlo  alia  Citta- 
dinanza,"—  but  it  is  not  easy  to  identify  them  with  those  in  the  text. 


254 


APPENDIX 


among  the  pictures  left  by  the  late  Sig.  Giuseppe  Porri 
to  the  Communal  Library  at  Siena.  A  very  poor  work, 
it  might,  however,  be  a  copy  of  a  lost  original,  and  as 
such  is  of  some  value. 

There  is,  besides,  an  unfinished  sketch  of  a  man 
(Case  344,  No,  1934)  in  the  Uffizi  Collection,  which,  from 
its  likeness  to  our  foundation  portrait,  is  almost  certainly  a 
real  effigy  of  Bazzi.  It  is  also  not  improbable  that  the 
fine  Pastel  Portrait  of  a  Man  in  the  British  Museum 
(No.  96)  (variously  attributed  to  Timoteo  Viti  and  to 
Raphael,  but  given  to  our  painter  by  Morelli)  may  also 
be  not  only  by  him  but  of  him. 


NOTE    ON   THE    CURRENCY. 

The  task  of  reconciling  the  value  of  money  paid  to 
Bazzi  and  others  for  their  work  during  the  period  of  which 
we  are  writing,  either  with  its  present  value,  or  con- 
temporary currencies  during  the  different  epochs  spoken 
of,  is  practically  impossible.  The  value  of  the  current 
coins,  whether  florin,  ducat,  or  scudo,  varied  so  constantly 
and  so  widely  from  time  to  time  and  place  to  place, 
that  the  difficulty  of  fixing  any  standard  is  greatly 
increased.  A  few  notes,  however,  may  aid  the  student 
in  forming  some  idea  of  the  sums  of  money  dealt  with. 

In  the  Milanesi  MSS.  (Bib.  Com.  Siena,  P.  III.  53, 
P-  157)  we  find  the  following:  Scritture  Consistoriali,  La 
Balia,  Filza  47. 

1529.  Scudo  d'oro  di  Sole- 

also  in  same  year 

1530.  Scudo  d'oro  di  Sole 
1529.       ,,       Senese     • 

(April)  1530.       ,,      d'oro  di  Sole 
(February)  1529. 

(       ..     17)  1529- 
(       „       2)  1529. 


-Lire 

1  2.10 

soldi, 

•   >> 

II. 

>> 

14. 

>) 

7- 

>> 

14. 

>> 

II. 15 

>) 

•   >> 

12.7 
II. 

>> 

THE   CURRENCY  255 

Again,  the  Milanese  florin,  as  we  read  of  it  in 
the  Vercellese  documents,  was  worth  3  lire  and  4  soldi 
terzuoli. 

In  Siena  the  ducat  seems  to  have  been  generally 
reckoned  at  7  lire,  th&  florin  at  ^. 

The  following  note  is  also  of  interest  in  this 
connection  : — 

"The  florin  was  first  coined  in  Florence  in  1252 
in  memory  of  the  victories  of  that  year;  it  weighed  72 
grains  of  gold.  It  was  imitated  in  Venice  under  the 
name  of  Ducat,  later  Zecchino  ;  and  in  Rome  as  Ducato 
Papale.  At  first  it  was  worth  3*02  libre,  but  as  gold 
gradually  appreciated,  its  value,  as  measured  by  silver, 
increased,  and  in  Perugia  it  went  up  to  4J  to  5  libre. 
Early  in  the  15th  century  the  florin  was  reduced  to 
69  grains.  Thus  roughly  the  florin  was  equal  to  11/. 
Twelve  denari  went  to  a  soldo,  and  20  soldi  went  to 
a  libra ;  thus  the  denaro  as  measured  by  gold  standard 
was  worth  from  one-sixth  to  one-ninth  of  a  penny." — 
Chronicles  of  the  City  of  Perugia,  I4<)2 — /50J,  by 
Francesco  Matarazzo.  Translated  by  Edward  Strachan 
Morgan.      London,  J.  M.  Dent  &  Co.,  1905,  p.  66,  note. 


256 


APPENDIX 


o 

u5 

S 

H 

^ 

N 

o 

"=^ 

K 

Oq 

o  ;5 

tt^ 

^S 

c:) 

z  >- 

fe 

O 

H  2 

>^ 

<hJ 

hJ 

9  '^ 

1— < 

<  z 

.     < 

o  h 

2 

W 

>;«' 

^3 

«^ 

Ph 

&S 

o 

5d 

p< 

w 

<g 

<   O 

s 

o 

5 

o 

w 

(J 

Plh 

u 

o 


CS"&H 


Ih 


N 

W         O  ■* 

Q  — b^ 

2    o^ 
<; 


opq^ 


-d 

rt 

— 

rt 

•S 

■§ 

c 

oi  J3 

^ 

V 

CQU 

"o 

Ih 

_ 

•^ 

c 

o 

O 

fv. 

u 

lO 

H^ 

^-^ 

<u 

o 

00 

^ 

TS 

C3 

^ 

-a 

s 

f 

(^  e  i 

c  S  o 

rt  £  c 

>  3-^ 

o  a  c 


p  5      <^ 

i_)  _aj  T3  „' 

V-  W5  d  -d 
°^  .E'-r' 
.   o  C-c 

""  rh  U  •-- 

g-C    OS    o 


Ih- 


o  <-"'  ^^ 

M   IJ  o 


< 
z 

T) 

S- 

_N 

N 

■4- 

z 

1) 
C 
0 

<l 

1— , 

d 

T) 

A 

o 

O 

^ 

< 

^ 

0) 

C 

O 

^ 

3 
»— > 

M 

^i  Sir 


--3 1:3       =" 
3    O    C    t*^ 


Ih- 


.  3     .^ 


O    ~    „i  ^ 

tolomm 
Neroni 
robably 
ainter  a 
d.  Jun 

5     (^^ 

ll_ 

Ir 

>-^ 

g^6S^ 

P.a^.-^:?; 

Ul   ■"       .  ■ — •  w 

•S    fe 


cpE 


B 

5 

^■3 

> 

m*^ 

u    • 

o 

£^ 

M    « 

^« 

'^S 

•  3 

•^ 

OK 

i? 

s  a 

-■o 

d 

.r« 

5^ 


o  «  o  ^ 


■S^ 


>:     * 


.8    ITX^    oq-s 


'i 

CO  5: 


S55: 


US 


a  o 

-    in 

i-S 

in  *7 

3  C  ~* 

5   C   Sx 
♦^    B    M 

w  9     . 

c  ou 

u  o^- 
E-a> 

CO    (0      • 

m2  O 
■2  "  "<     . 

t;  o2  s^ 

■♦  «  lu  Jt-  S. 
"  0.0  «»  o 

K  Q.  u  ^>]  be 
S     .,«  5  '  C5 

s*  cic  ov(/) 
If  ?.HTo 

5  §1-1  ?«  »! 

3^  01    .Qu  «> 
■:  1^  C  r^   ,  rj 

^     o  3 


'^S^ 


rt  K  s  w  S  a  "  s  s  "  w 

fuuusu  .u  U.2  u 


•r°sdi5 
SSI's: 

«'"-2  «>  J! 

Ss  s 


0)    w 


DOCUMENTS  257 

No.  2. 

ARTICLES  OF  APPRENTICESHIP  OF  G.  A.  BAZZI. 

Archivio    Civico    DI   Vercelli.     Notulario  di  Guidetto  de 
Pellipariis,  n.  18,  fogl.  592. 

MCCCCLXXXX.  die  xxviii.  mensis  novembris  hora 
mediarum  terciarum  vel  circha  actum  Vercellis  in  vicinia 
sancti  Juliani  in  appoteca  infrascripti  magistri  francexii 
borduarii  ^  presentibus  no.  francexio  de  Ticionibus  f.q.d. 
Augustini  et  francexio  bordererio  et  bernardino  filio  qd. 
mafeoli  dorerii  testibus. 

Ibique  magister  Jacobus  de  bazis  de  blandrate  caliga- 
rius  vercellarum  possuit  et  firmavit  Jokanem  Antoniunt 
eius  filium  presentem  et  se  firmantem  ad  standum  cum 
magistro  Martino  de  Spanzotis  de  Casale  pinctore  pro 
annis  septem  proxime  Venturis  incipientibus  in  festo  nati- 
vitatis  d.  nri.  Jesu  Christi  proxime  futuro  usque  ad  quod 
empus  idem  m.  Jacobus  promisit  quod  stabit  et  famularit 
promisit  secum  per  dictum  tempus  et  laborare  et  quod 
erit  legalis  ac  fidelis  et  non  comitet  dolum  nee  fraudem 
et  ea  que  pervenient  ad  manus  consignabit  et  faciet  ea 
omnia  que  facere  tenetur  bonus  et  legalis  ac  fidelis  famulus 
et  cetera  et  idem  magister  Martinus  promisit  tradere 
artem  pinctorie  toto  suo  posse  et  vidriatarum  et  aliarum 
que  sit  (^scit)  idem  m.  Martinus.  Item  convenit  et 
promisit  idem  m.  Jacobus  dicto  m.  Martino  presenti  et 
acceptanti  dare  et  traddere  pro  expensis  tantum  premis- 
sorum  annorum  florenos  quinquaginta  mediolani  vide- 
licet in  principio  quorumlibet  septem  annorum  septimam 
partem  ita  quod  in  ipso  principio  teneatur  idem  m. 
Jacobus  facere  suis  sumptibus  unam  vestem  in  bona 
longitudine,  item  duos  diploydos  et  tria  paria  caligarum 
semel  tantum  in  ipso  principio,  reliqua  disiuncta  faciat  per 

^  Bruzza  reads  bordererii.  The  above  is  the  reading  of  Faccio, 
supported  by  Aw.  Francesco  Marocchino,  keeper  of  the  Archives  at 
VerceUi.     Cf.  Faccio,  Op.  cit.,  p.  217. 

17 


258  APPENDIX 

dictum  tempus  idem  magister  Martinus.  Item  quod  idem 
magister  Jacobus  toto  tempore  dictorum  septem  annorum 
det  sotulares,  camisias  et  panixellos  et  aliam  totam  blan- 
chariam  ipsius  Jacobi  expensis.  Item  quod  idem  m. 
Martinus  teneatur  dare  alimento  cibi  et  potus  et  habita- 
tionem  condecentem  justa  condicionem  .  .  .  que  omnia 
promisserunt  attendere  et  hinc  inde  restituentes  dampna  et 
expensas  ubi  non  attenderint  de  quibus  expensis  credantur 
iuri  etiam  (?)  lite  non  contestata  et  possint  in  solidum 
ubique  arrestari  et  incarcerari.  .  .  .  Constituentes  procu- 
r a.torQs />roda^os{?)  in  forma  Camere  renunciando  beneficio 
minoris  etatis  jurantes  omnes  tres  precipientes  etc. 

No.  3. 

THE   WILL   OF   GIACOMO   DI   BAZZL 
Arch,  detto.     Protocollo  di  Enrico  de  Balbis,  n.  4,  fogl.  231'- 

In  nomine  domini  nostri  Jesu  Christi  amen.  Anno  a 
nativitate  eiusdem  currente  millesimo  quadringentesimo 
nonagesimo  septimo  inditione  decima  quinta  sive  ultima 
die  tertia  decima  mensis  augusti. 

Actum  Vercellis  in  vicinia  Ecclesiae  Sanctae  Mariae 
Majoris  in  domo  habitationis  infrascripti  testatoris  pre- 
sentibus  spectabilibus  iuris  utriusque  doctore  domino 
Mathia  de  Scazoxiis  de  Blandrate  nobili  Johanne  Andrea 
de  Guidalardis  de  Verono  Francisco  de  Pichono  Marco 
de  Lignana  caligario  Petro  Bocio  de  Blandrate  bechario 
Bernardino  de  Novaria  filio  magistri  Dominici  caligarii 
Jacobo  de  Camarano  de  Blandrate  Gabrielle  de  Roaxio 
Filippo  filio  magistri  Francisci  de  Rodobio  et  magistro 
Antonio  de  Blandrate  marescalco  omnibus  habitantibus 
Vercellarum  testibus  ad  infrascripta  per  infrascriptum 
testatorem  meque  notarium  infrascriptum  vocatis  rogatis 
ac  notis. 

y\.di^\^\jtx  Jacohis  de  Bazis  de  Blandrate  caligarius  et 
habitator  Vercellarum  sanus  dei  gratia  mente  et  intellectu 


DOCUMENTS  259 

licet  corpus  suum  quandam  patiatur  infirmitatem  .  .  ,  sepe- 
liri  ordinavit  in  cemeterio  ecclesie  S.  Marie  majoris  .  .  . 
instituit  heredem  particularem  Angelinam  ejus  uxorem  in 
florenos  centum  mediolani  pro  dote  sua  cui  legavit  ultra 
dictos  florenos  centum  ejus  vestes  baltea  et  alia  bona 
mobilia  tam  lanea  quam  linea  a  suo  portare  et  cappas  duas 
et  quam  Angelinam  ejus  uxorem  constituit  dominam  et 
usufructuariam  quorumcumque  bonorum  suorum  mobilium 
et  immobilium  ipsa  ducente  vitam  vidualem  et  honestam 
ac  timorate  cum  infrascriptis  ejus  filiis  et  quam  liberavit 
a  ratione  reddenda  et  ab  inventarii  confectione  ipsam 
omologistam  constituens  si  dicta  Angelina  non  transeat 
ad  secunda  vota.  Et  casu  quo  transeat  ad  secunda  vota 
tunc  et  eo  casu  habeat  dictam  ejus  dotem  cum  bonis 
suprascriptis  et  non  ultra.  Item  legavit  societate  discipli- 
natorum  Sancte  Katerine  ducatum  unum  dando  semel 
tantum.  Instituit  heredem  particularem  Amedeam  ejus 
filiam  legitimam  et  naturalem  in  florenos  centum  mediol. 
quos  dictus  testator  asserit  dictam  Amedeam  et  Johem 
Petrum  ejus  maritum  habuisse  et  recepisse  et  ultra  dictam 
ejus  dotem  in  ducato  uno  dando  et  solvendo  per  dictos 
ejus  Alios  et  heredes  universales.  In  omnibus  autem 
bonis  suis  mobilibus  et  immobilibus  instituit  heredes 
universales  Johannem  Antonium  et  Nicholam  ejus  Alios 
legitimos  et  naturales  ipsos  ore  proprio  nominans  equali- 
bus  porcionibus  quibus  constituit  dictam  Angelinam  ejus 
uxorem  et  matrem  dictorum  Jo.  Antonii  et  Nichole 
curatricem  et  gubernatricem  ita  et  taliter  quod  dicti 
ejus  filii  et  heredes  quicumque  de  bonis  ipsius  testatoris 
disponere  non  possint  sine  consensu  dicte  Angeline  usque 
non  fuerint  etatis  annorum  vigintiquinque  et  ultra  et  aliter 
et  alio  modo  quidquid  actum  fuerit  per  dictos  ejus  Alios 
et  heredes  non  valeat  nee  teneat  quia  ipse  testator  de 
ipsa  Angelina  multum  confidit.  Item  iste  testator  dicit 
et  protestat  se  dare  debere  nobili  Henrioto  filio  nob. 
Justiniani  de  Advocatis  Valdengi  libra  septuaginta  octo 
imperialium.        Item     Paulino     bechario    libras    viginti 


26o  APPENDIX 

quattuor  imperialium.  Item  Jo.  Petro  de  Arena  Hbras 
decern  septem  et  solidos  duodecim.  Item  Marchioni  de 
Badaloco  libras  novem.  Item  fr.  Laurentio  de  Tomis 
de  Palestro  libras  decem.  Item  Francisco  de  Pichono 
libras  viginti  tres  imperialium,  etc. 


No.  4. 

The  Denunzia  or  Inventory  of  the  Worldly  Goods  of  GIOVANNI 
Antonio  Bazzi.    1531  (?). 

Dinanzi  a  voi  cittadini  sopra  a  fare  la  Lira  vi  si  dice 
per  me  maestro  Giov.  Antonio  Sodoma  di  Bucaturo. 

E  prima  (ho)  un  orto  a  Fontenuova,  ch'  io  lavoro 
e  gli  altri  ricogliono. 

Una  casa  in  litigio  con  Niccolo  de'  Libri  per  mio 
abitare  in  Vallerozzi. 

Trovomi  al  presente  otto  cavalli ;  sopranome  son 
chiamati  caprette  et  io  sono  un  castrone  a  governali. 

Trovomi  un  scimmia  e  un  corvo  che  favella  e  Io 
tengo  che  insegni  a  parlare  a  un  asino  teologo  in  gabbia. 

Uno  gufo  per  farpauraa  matti  e  un  barbagianni.  Del 
Locco  non  vi  dico  niente  per  la  scimmia  di  sopra. 

Trovomi  due  pavoni,  due  cani,  due  gatti,  un  terzuolo, 
uno  sparviero,  sei  galline  con  diciotto  pollastrine. 

E  due  galline  moresche  e  molti  uccelli  che  per  Io 
scrivare  saria  confusione. 

Trovomi  tre  bestiacce  cattive,  che  sono  tre  donne. 

Trovomi  poi  da  trenta  figliuoli  grandi,  e  per  traino 
ain  {sic).  V.  E.^  permetteranno  bene,  che  hone  havere  di 
grosso,  oltre  che,  secondo  li  statuti  chi  ha  dodoci  figliuoli 
non  e  tenuto  a  gravezza  di  Comune.  Per  tanto  a  voi  mi 
raccomando. 

Bene  valete, 

Sodoma,  Sodoma — derivatum  mihi  Sodoma. 

^  V.  E.=Vostre  Eccellenze. 


DOCUMENTS  261 

Translation  of  the  Denunzia. 

The  Inventory  and  Declaration  of  GIOVAN.  Ant.  Bazzi,  styled 
il  Sodoma,  Painter. 

Before  you  citizens  in  making  [i.e.  drawing  up]  the 
Lira,  maketh  known  in  person  Maestro  Giov.  Antonio 
Sodoma,  of  Bucaturo. 

In  the  first  place,  I  have  a  garden  [orchard]  at  Fonte- 
nuova  that  I  plant  [labour]  and  others  garner  [the  fruit]. 

A  house  in  process  [of  litigation]  with  Niccolo  de 
Libri  for  my  abode  in  Vallerozzi. 

I  am  possessed  at  the  present  time,  of  eight  horses ;  they 
are  surnamed  kids,  and  I  am  a  ram  [castrone  =  "  a  ram  "  ; 
colloquial  Italian  for  dolt  or  clown]  at  handling  them 
[my  team]. 

Item  :  I  have  an  ape,  and  a  talking  raven,  which  I  keep 
in  a  cage  that  he  may  teach  a  theological  ass  to  talk  [dispute]. 

A  screech-owl  to  scare  fools  with,  and  likewise  a 
horned  owl.  Of  the  booby  [Locco,  colloquial  Italian 
for  an  imbecile]  I  do  not  make  further  mention  to  you,  on 
account  of  the  monkey  aforesaid. 

I  am  in  possession  of  two  peacocks,  two  dogs,  two 
cats,  and  a  tassel  [a  kind  of  falcon],  one  sparrow-hawk, 
six  hens  with  eighteen  chicks. 

Two  guinea-fowl  and  many  birds  that  to  name  were 
confusion. 

I  am  possessed  of  three  mischievous  animals  which  are 
three  women-folk. 

I  have  besides  more  than  thirty  big  children  for  an 
encumbrance :  indeed  it  is  one  (ain).  Your  worships 
will  allow  that  I  have  of  them  verily  {Jiavere  davvero)  a 
quiverful  [di grosso  =  s.  number];  moreover  that  according 
to  the  Statute,  he  that  hath  twelve  children  is  not  liable 
to  impost  of  the  Commune. 

Wherefore  I  commend  myself  to  your  Worships. 

Fare  ye  well, 
Sodoma,  Sodoma — my  style — Sodoma. 


262  APPENDIX 

This  Denunzia  or  Inventory,  which  does  not  appear  in 
the  original  volume  of  theZzV^  Records,  was  first  published 
by  P.  Isidoro  Ugurgieri  Azzolini  in  his  Pompe  Sanese, 
vol.  ii.  p.  356  (Pistoia,  1649).  Bazzi's  name  is,  however, 
entered  in  the  Register  for  1531  among  the  inhabitants 
of  the  district  of  S.  Donato  a  Montanini,  thus :  Messer 
Giovanni  Antonio  dipentore  alias  el  Sodoma  lire  cento. 
Arch,  di  Stato,  Siena,  Lib.  della  Lira.    N.  125,  C.  84. 

The.  Racconto  di(sic)  Pitture,  etc.,  compiled  by  Alfonso 
Landi  in  1655,  and  of  which  two  copies  are  preserved 
in  the  Communal  Library  of  Siena,  contains  two  MS. 
versions  of  this  travesty.  The  compiler  admits  that  the 
Denunzia  in  question  is  full  o{  lacuncB,  and  that  his  readings 
are  drawn,  '' not  from  the  original  document''  but  from 
"  copies  in  the  possession  of  those  who  at  that  time  had  skill 
in  deciphering  ancient  characters!' 

Why  any  one  should  have  expected  to  find  a  document 
of  this  nature  among  the  Lira  records  is  a  mystery. 
Had  Bazzi  even  admittedly  been  the  author  of  the  skit, 
he  would  scarcely  have  ventured  in  all  seriousness  to 
submit  this  figment  of  his  brain  to  the  authorities,  without 
incurring  the  risk,  not  only  of  severe  public  censure,  but  of 
condign  punishment  as  well.  The  composition,  if  genuine, 
is  obviously  intended  for  a  pasquinade  ;  and  none  of  his 
contemporaries  would  have  been  so  far  misled  as  to  think 
differently.  Indeed,  that  latter-day  authors  and  critics 
should  have  attached  any  historical  value  to  the  Denunzia 
is  a  matter  of  no  little  surprise. 

In  1 53 1,  the  date  when  the  Denunzia  is  supposed  to 
have  been  compiled,  Bazzi  was  no  longer  a  rollicking 
youth,  but  a  staid  and  elderly  citizen,  fifty-seven  years  of 
age,  married,  and  the  father  of  a  family.  That  a  man 
with  a  reputation  for  respectability  to  uphold  should  have 
lent  his  name  to  such  a  farrago  of  scurrilous  jocularity — 
witty  though  it  be — is  scarcely  credible ;  although  so  many 
serious  writers  refer  to  the  document,  and  assume  its 
authenticity  without  question. 


DOCUMENTS  263 

The  inquiring  student  would  be  diverted  at  the  ingeni- 
ous attempts  of  Padre  Delia  Valle,  Monsignor  Mancini, 
and  other  champions  of  our  artist's  character,  to  minimise, 
by  means  of  various  readings  and  interpretations,  the  force 
of  doubtful  expressions.  Strong  in  their  desire  to  make 
the  best  case  possible  for  the  artist,  it  seems  never  to  have 
occurred  to  them  that  neither  had  they  ever  seen  the 
original,  nor  had  they  made  inquiries  concerning  the  same  ; 
nor  traced  Padre  Ugurgieri's  authority  for  printing  it  as  a 
genuine  production.  They  were,  of  course,  in  ignorance 
of  all  the  valuable  data  that  we  have  obtained  since,  through 
the  researches  of  Padre  Bruzza  and  others  ;  but  even 
Signori  Borghesi  and  Banchi  express  astonishment  at 
not  finding  the  Denunzia  among  the  Sienese  Public 
Archives. 

If  the  matter  is  weighed  dispassionately,  it  becomes 
obvious  that  these  gentlemen  could  scarcely  expect  to 
find  it  in  a  Record  Office  ;  except  by  chance  among  the 
old  Diaries,  Memorie,  or  miscellaneous  papers  from  the 
muniment-room  of  some  family  ;  or  in  the  portfolios  of 
some  collector  of  literary  curiosities,  such  as  sometimes 
find  their  way  into  public  collections.  These  two  gentle- 
men, for  all  their  erudition,  stand  convicted  of  lacking 
sadly  a  sense  of  humour.  The  document  has,  however, 
succeeded  in  deceiving  most  writers ;  more  indeed  from 
want  of  thought  than  from  intentional  misrepresentation. 

With  Messer  Giorgio's  thirst  for  tales, — fact  or  fiction 
mattered  not  to  him  nor  to  his  informants, — such  an  addi- 
tion to  his  store  of  ill-natured  anecdote  would  have  proved 
a  most  gratifying  stick  wherewith  to  beat  his  dog.^  The 
absence  of  all  reference  to  this  Denunzia,  both  from 
Vasari's  great  work  and  from  all  contemporary  records, 
goes  very  far  to  prove  that  the  Declaration  or  Inventory 

^  It  is  as  well  to  observe  also  that  the  supposititious  date  of  this 
composition  is  contemporary  with  Vasari's  visit  to  his  friend  Don  Miniato 
Pitti  at  S.  Anna  in  Creta ;  on  which  occasion  he  not  only  heard,  but 
endeavoured  to  collect  all  the  facts  he  could  obtain  concerning  Bazzi. 


264  APPENDIX 

of  Giovanni  Antonio  Bazzi^  styled  "  il  Sodoma"  Painter, 
had  not  at  that  time  the  credit  of  a  public  document ; 
nor  had  any  MS.  copy  circulated  from  hand  to  hand 
or  become  general  property.  The  obvious  conclusion 
would  be  that  we  are  in  the  presence  once  more  of 
one  of  those  clever  literary  forgeries  so  common  both  in 
the  middle  ages  and  the  present  day,  composed  many 
years  after  the  death  of  the  hero,  or  victim ;  and  upon 
which  the  memoirs  and  biographies  of  former  days  were 
so  largely  founded. 

No.  5. 

The  Epigrams  of  EURIALO  MORANI  D'ASCOLI.  Printed  in 
Siena  for  Semione  DI  Nicol6,  Stationer.  A.D.  1516, 
(st  Sen.)  \2th  February.    {Dedicated to  FRANCESCO  SoziNI.) 

EURIALI  MORANI  ASCULANI  EPIGRAMMATU.  Librt  duo. 
Ca  Grd  7  Privi.  hnpresso  in  Siena  per  Semione  DI  NICOL6. 
Cartolaio.     Anno  Domini  MDXVI.  (15 16).     Die  12  de  Feraio . 

Book  I.  c.  ii. 

Pro  Statua  Lucretie  Sodome 
Si  tunc  lacteolis  vidisset  dextra  papillas(is)^ 
Ipsam  non  stygiis  dextra  dedisset  aqu(is)  is^ 

Pro  eadem 
Nota  erat  antique  sublata  potentia  Rome 
Reddita  pars  Rome  est  major  ab  artifice 

Pro  eade7n  Dial 
Cur  te  non  duro  penetras  Lucretia  ferro  ? 
Quod  tenet  hinc  consors  q^  tenet  inde  pater 

In  eandem 
Crudelis  pictor  crudelis  dextera  per  quam 
Ecce  iterum  Tyberis  bella  novantur  aquis 

^  Misprint  (?).  ^  Omitted.  ^  Perhaps  quod  (?). 


DOCUMENTS  265 

In  eandem 

Hyppolitum  ad  superos  Diana  reduxit  ab  Oreo 
Me  pictor  campo  duxit  ab  Elysio 

In  eandem 

Me  pictor  fingens  oravit  numina  :  vivam 
Redderet :  ut  fierem  verier  historia 

In  eandem 

Est  picta  &  duro  confodit  pectora  ferro 
O  mirum  est  artem  viva  per  artificis 

In  eandem 

Nunc  mihi  pulchra  Venus  Tenui  dat  vescier  aura 
Ut  revocem  a  teneris  sodoma  te  pueris 

In  eandem.  Dial 

Sodoma  pedico  est :  cur  te  Lucretia  vivam 
Fecit :  habet  nostras  pro  Ganimede  nates 

This  poem  is  undoubtedly  genuine  and  contemporary 
with  Bazzi  ;  but  it  may  after  all,  judging  from  the  date 
(15 16)  of  its  publication,  have  been  but  an  allusion  to  the 
picture,  painted  for  Leo  X. — in  reward  for  which  Bazzi 
obtained  his  title — and  at  the  same  time  a  coarse  joke 
upon  his  racing  name — a  species  of  pleasantry  (whatever 
we  may  think  of  its  good  taste)  not  out  of  keeping  with 
the  manners  and  customs  of  the  period. 


No.  6. 

Martino  Spanzotto  contracts  to  paint  a  picture  for  the  patrician 
N1CCOL6  d'  A]azza.  (Arch.  Civico  di  Vercelli. 
Guidetto  de  Pelliparis.     Notul.   19.  fo.  17.) 

MCCCCLXXXX.  primo    indictione   nona  die  tertio 
mensis   ianuarii,    hora  xviiii.   vel  circha  actum  Vercellis 


266  APPENDIX 

in  vicinia  scti  Michaelis  In  domo  infrascripti  d.  Nicolai 
videlicet  in  sala  presentibus  nob.  d.  Bartolomeo  de 
Scutariis  Antonio  de  Rubeis  Jo.  guideto  de  sustegno  et 
ibleto  de  cazamis  fq.  no.  thome  testibus. 

Ibique  magister  Martinus  Spanzotus  pinctor  sponte 
etc.  convenit  et  promisit  solempni  stipulatione  inter- 
veniente  spectabili  iuris  doctori  dno  Nicolao  de  Agaciis 
facere  unam  anchonam  ponendam  ad  altare  capelle  scti 
Thome  de  Aquino  constructe  in  ecclesia  scti  Pauli  de 
Vercellis  cum  immagine  scte  Marie  sctorum  Thome  de 
Aquino  Johis  Baptiste  scti  Jeronimi  scti  Johis  Appostoli 
et  evangeliste  scte  Caterine  et  scte  Lucie  et  cum  imagine 
prefati  dni  Nicolai  et  d.  Linorie  eius  consortis  et  ipsam 
anchonam  dare  videlicet  pinctam  ordinatam  ad  exti- 
macionem  duorum  pinctorum  expertorum  elligendorum 
per  ipsas  partes  ita  tamen  quod  non  excedat  summam 
quinquaginta  ducatorum  et  quam  anchonam  promisit 
pingere  in  hac  civitate  Vercellarum  facere  intaglare  in 
Casale  et  exinde  pingere  in  civitate  Vercellar.  et  dare 
perfectam  et  laudatam  hinc  ad  festum  Nativitatis  dni.  nri. 
Jesu  Xpi  prox.  vent,  et  incipere  laborare  infra  pasca 
resurrectionis  d.  nri.  Xpi.  prox.  vent,  et  dare  perfectam  et 
laudatam  ut  supra  infra  festum  Natale  vent,  ut  supra  et  ex 
nunc  confitetur  idem  magister  Martinus  habuisse  et  habuit 
numeratos  in  presentia  mei  notarii  infrascripti  et  testium 
suprascriptorum  ducatos  decem  et  grossos  tres  mediolani 
pro  parte  solucionis  predicti  operis  dicte  anchone  re- 
nunciando  etc.  Item  idem  d.  Nicolaus  promisit  solvere 
ducatos  viginti  infra  festum  pentecostes  vent  .  .  .  usque 
ad  integralem  solucionem  premissorum  promisit  solvere 
id.  d.  Nicolas  promisit  solvere  dicto  m.  Martino  perfecto 
et  laudato  ac  extimato  ut  supra  opere  etc.  obligantes  etc. 
renunciando  etc.  iurantes  attendere  ut  supra  et  non  contra- 
venire  etc.  precipientes  instrumentum. 


DOCUMENTS 


267 


0 

V           M 

> 

X 

0        i^ 

U   fl   N <  "^ 

J3           N 

2  H 
1     ". 

z  .5  10      « 

t^ 

M          T3 

a 

^P^  "      ^^ 
K  r>               «-■ 

1          ^^ 

Ph                    0 

a 

§          ^ 

> 

m 

3 

X 

S-3 

■M               ** 

13 

P^^ 

S     -s 

0 

Ot3 

a    s 

0 
en 

1 
ViNCENZ 
(Cleric  an 
Painter) 
1498. 

1     a 

S 

•a  3 
1    1 

s 

< 

tn 

< 

to 

5     -S 

< 

11- — 

J-Bo 

2o 

i  1 
1  ^ 

0 

en     . 

i 

HH     ,11 

11 

d 

'5 

'S    ';^ 
a  <u  s 

0)    J;  rj 

(ft 

II 
0 

No.  6  a. 

HE   SPA 

<  < 

PhU 

1 

ANNI  Marti 
irca  1481  ;  die 
nth,  1524,  an 
nth,  1528. 

.s  s 

-.-*      IH 

II 

the  individual! 
are  mentioned, 

lince  he  is  un: 

0 

W 
W 

^  0 

2  « 
0 

o7. 

PlETRO)  Giov 
(Painter),  m.  ci 
between  June 
November 

11- 

d  . 
0  10 

Z  t«, 

'S 

ined  concerning 
ch  these  persons 

of  this  person,  1 

Ci^ 

0 

•72 

-<;s 

0   ci      . 

52   • 

0 

2 

0  c 

Pi  M-e 

S-S   Si 

Q 

S 

HH 

§- 

s>pa 

1^ 
0 

Ph 

to 

6  J.  J? 

00 -S  "^ 

s 

1 

Costantxna,  =  Piet 
m.  1567.               of 

e  fact  can  1 
other  recoj 

oubts  the  1 

>< 

H    •  0  m 

•tJ  u    -o 

3 
1-1 
< 

Gabriel 

non)  1502  ;  d.  Oc 

Vicar-General 

Diocese  of  Casal 

Since  so  little  defin 
!  of  the  documents  0 

)  Conte  di  Vesme 
cit.,  pp.  20  and  40). 

< 

A 

•  S  ^  • 

H 

1      t 

268  APPENDIX 

No.  7. 

Contract  between  GIOVANNI  Antonio  DE  Vercelli  and 
Fra  Andrea  Cossa,  Steward  of  tJu  Convent  (?/S.  Anna 
in  Creta.     loth  July,  1503. 

R.  Archivio  di  Stato  di  Firenze.  Archivio  del 
Patrivionio  Ecclesiastico.  Pienza.  A.  CCCIX.,  vols,  i.-ii. 
(461),  fol.  18  bis. 

Apparera  per  la  presente,  come  oge  che  sono  10  de 
luglio,  maestro  Joan  Ant°.  de  Vercelli  depintor  e  restate 
daccordo  con  mi  frate  Andrea  Cossa  cellerario  del 
monastero  de  Sancta  Anna  de  Camprena,  de  pengere  lo 
refectorio  del  predicto  monastero :  e  deve  pegner  doe 
fazato  del  dicto  refectorio ;  videlicet,  tre  lunecte  nel 
frontespicio  de  la  porta  ;  zoe,  sopra  la  mensa  del  abbate 
ce  depegnera  lo  miraculo  che  fe  Xsto  nostro  Signor  nel 
deserto  de  la  multiplicatione  de  cinque  pane  in  societk  de 
5000  homini,  et  che  la  pegnera  bella,  ponendoce  omne 
sua  diligentia  et  studio.  Et  sopra  la  porta  del  dicto 
refectorio,  da  la  parte  de  dentro,  depegnera  tre  altri 
lunecte,  con  una  penta  in  menzo,  zoe  la  deposicione  de  la 
croce  con  le  figure  condecente  ad  ipso  misterio :  et  a  le 
altre  lunecte  depegnera,  ad  la  una,  nostro  patre  sancto 
Benedicto  con  alcuni  frati  retracti  del  proprio,  et  a  1'  altra 
lunecta  depegnera  sancta  Anna,  puro  con  alcuni  frati 
del  medesimo  modo,  con  li  payse  et  prospectivi  belli  et 
laudabili  infra  alcuna  storia,  como  a  I'altra  condecente. 
Et  piu  deve  pegnere  le  spallere  intorno  del  refectorio,  sopra 
le  spallere  de  legname  in  tanta  alteza,  quanto  resta  lo  muro, 
socto  le  finestre,  con  li  tituli  del  monastero,  de  I'ordini,  tanti 
quanti  ce  ne  andranno,  belli  et  laudabili,  como  de  sopra  e 
dicto.  Et  nui  ne  obligamo,  zoe,  Jo  frate  Andrea  sopra- 
dicto,  come  cellerario  del  dicto  monastero,  darli  ducati  vinti 
d'oro  larghi  ad  omni  sua  requisitione,  facto  il  lavoro  :  Et 
piu,  me  obligo  darli  tucti  li  coluri  necessarii  ad  dicta  pictura  : 
et  tutto  loro  ce  serr^  necessario,  de  manero  che  il  dicto 
maestro  Joan  Ant°.  non  a  da  ponere  si  non  la  manufactura 


DOCUMENTS  269 

soa  et  de  uno  garzone :  Et  anco  nui  simo  tenuti  fare  le 
spese  al  dicto  maestro  et  al  garzone  :  Et  de  questo  simo 
restati  de  accordo,  et  perche  questa  e  la  verita.  Jo  frate 
Andrea  sopredicto  6  facto  la  presente  scripta  de  mia  propria 
mano,  ipso  presente  et  sopto  scrivendose  de  sua  mano 
propria,  presente  frate  Stefano  de  Milano  et  frate  Bernardo 
da  Siena  et  frate  Bartholomeo  de  Vercelli,  in  questo  di  10 
de  luglio  1503. 

(The  receipt  in  Bazzi's  handwriting  follows  : — 
"Jo  maestro  Antonio  che  questo  e  la  verita  confermo 
(tucto)    quello    se    sopre    scritto,    de    mia  propria  mano, 
promecto  oservalo.") 

No.  8. 

Extracts  from  the  Ledgers  of  the  Convent  of  MONTE  Oliveto 
Maggiore,  near  Chiusure.  Records  of  payments  ^  materials, 
etc.,  supplied  to  GIOVANNI   ANTONIO    Bazzi. 

Archivio  di  Stato  di  Siena.    Libro  d' Amministra- 
zione  di  detto  Monastero,  segnato  LP. 

1505  (p.  46'). 

Item  a  di  5  da  Agosto  de' dare  carlini  3  prestay  al 
depentore         .         .         .         .         L.  i,  sol.  i,  den.  o. 

(P-47^) 
El  R.'P.  Abbate  Generale  de  dare,  a  dl  10  d' Agosto, 
carlini   cinque,   qualli   hebe   el  depentore  ditto  Matazo} 

L.  2,  s.  I,  den.  o. 

1 505  Settembre  (p.  48  ') 

Item,  dare,  a  di  24  ditto,  carlini  vinti  qualli  hebe  el 
depentore  per  fornito  pagamento  de  la  sua  prima  istoria. 

^  It  is  worthy  of  note  that  the  Matazo  of  this  entry  becomes  Giovanni 
Antonio,  and  later  Maestro  Giovanni  Antonio  (once  even  da  Verzellt), 
as  the  accounts  go  on.  That  the  monks  did  have  amusing  names  for 
their  employes  is  evident  from  certain  entries  on  pp.  11 6*'  and  117 
regarding  a  person  designated  as  "  //  Stravaganfe,"  who  seems  to  have 
been  employed  in  the  store-rooms. 


270  APPENDIX 

1505  Settembre  29  (p.  48*) 

Item,  die  dare,  a  di  dicto  Ducati  uno,  hebe  el  depentore, 
apare  in  questo  a  c.  53. 

1 505  Ottobre  (p.  49  *•  ^) 

El  R.  P.  Abbate  infrascritto  de'  dare  a  di  18  de  octobre, 
Ducati  uno  qualle  hebe  el  p.  priore  luy  lo  haveva  dacto 
al  depentore,  apare  in  questo  a  c.  53  in  debito  al  depentore. 

Item,  a  di  19  dicto,  hebe  el  garzone  del  dicto  depentore 
di  volonta  sua  Lire  cinque,  zoe  carlini  10,  presente  f.  lo. 
Baptista  da  Verona,  in  nel  monasterio  de  Sena  ;  in  questo 
a  c.  53. 

1505  (P-  52'-  e.  seg.) 

lo,  Antonio  depentore  de'  el  claustro  di  Monte  Oliveto 
de'  dare,  a  di  29  de  Septembre,  ducati  uno  qualle  hebe  da 
me  Cellerario,  apare  in  questo  a  c.  49^  in  debito  al  padre 
Abbate    .....     Lire  7. 

Item,  a  di  18  d'octobre  de'  da  ducati  uno  qualle  rese  lo. 
al  p.  priore  nostro  per  luy  apare  al  debito  al  p.  Abbate  in 
questo  a  c.  49  .  .  .  .     L.  7. 

Item,  de'dare,  a  di  19  dicto,  Lire  cinque;  zioe  carlini 
dieci ;  hebe  da  me  el  suo  garzone  nel  monasterio  de  Sena, 
apare  in  questo  a  c.  49     .         .     L.  5,  den.  o. 

Item,  de'dare,  a  di  2  di  novembre,  carlini  tre,  apare  in 
questo  a  c a  la  partita  del  p.  Abbate.     L.  i,  s.  i. 

Item,  de'  dare,  a  di  12  di  novembre,  sol.  tredece  qualli 
spesi  per  luy  a  Sena  in  uno  quinterno  di  carta  reale  et  una 
oncia  di  senapo         .  .  .     s.  13. 

Item,  de'  dare,  a  di  26  di  novembre,  carlini  undece 
qualli  hebe  per  dare  a  Melchion  suo  garzone  quando  lo 
mando  a  casa  sua,  zioe      .         .     L.  5,  sol.  10. 

Item,  de'  dare,  a  di  6  di  dicembre,  carlini  sey,  qualli 
hebe  da  el  Celleraio  minore      .     L.  3. 

^  The  pages  are  numbered  wrong,  and  there  are  two  pages  49.  This 
entry  is  on  the  first. 

^  Perhaps  this  is  the  same  item  as  that  recorded  above  on  August  5th. 


DOCUMENTS  271 

Item,  a  dl  18  dicto,  de'dare  uno  ducato,  quallo  hebe  el 
suo  garzone  a  Sena  de  suo  consentimento 

L.  7,  sol.  I. 

Item,  de'dare,  a  di  25  dicto,  carlini  tre  quelli  hebe  el 
Celleraio  minore      .         .         .     L.  i. 

Item,  de'  dare,  a  di  2  di  zenaro,  s.  vinti,  qualli  dete  il 
Celleraio  minore      .         .         .     L.  i. 

Item,  de'  dare,  a  di  22  di  zenaro,  L.  tredece,  s.  sedece, 
qualli  spesi  in  folie  300  d'  oro       L.  13,  sol.  16,  den.  o. 

Item,   a  di   28  dicto,   de'  dare  L.  quatro,  sol.   quatro. 

L.  4,  sol.  4. 

Item,  a  di  15  de  febraro  detto,  carlini  tre,  qualli  hebe 
presente  el  portinaro         .         .     L.  i,  sol.  10. 

Item,  a  di  20  dicto,  de'  dare  carlini  4  de  li  qualli  n'ebe 
duy  luy  et  duy  me  ne  feze  dare  al  suo  garzone. 

L.  2, 

lo,  Antonio  depentore  infrascritto  de'  dare,  a  dl  25 
dicto,  ducati  mezo  qualli  feze  boni  al  Priore  di  Sena, 
qualle  li  haveva  datto  al  suo  garzoe  di  suo  consentimento 

L.  3,  sol.  10,  den.  o. 

Item,  a  di  29  dicto,  pagay  a  Sena  per  braza  10  di  tella 
per  fare  camise  Ducati  uno  et  per  uno  paro  di  calze 
L.  ottos,  duy  en  tutto      .         .     L.  15,  s.  2,  d.  o. 

Item,  de'  dare  carlini  quatro,  qualli  o  facti  boni  al 
infrascritto  nostro  garzone  per  suo  dicto,  et  carlini  tre 
hebe  contati    .         .         .         .     L.  3,  sol,  10. 

Item,  a  dl  15  di  Marzo,  de'  dare  carlini  novi  qualli  me 
fece  dare  a  uno  fratello  del  suo  garzone  di  Santo  Geminiano 
et  al  dicto  garzone  feze  fare  uno  par  di  calzoni  de  tella 
che  costorno  s.  37  che  sono  in  tutto  L.  sey  sol.  sette,  zoe 

L.  6,  sol.  7,  den.  o. 

Item,  de'  dare  soldi  tredece  qualli  hebe  Vincenti  suo 
garzone  per  compire  uno  ducato  gli  s'  apresti. 

L.  6,  sol.  7. 

Item,  a  di  25  di  Marzo  1506.  De'  dare  carlini  tre  ie 
li  porto  Vincenti  per  andare  a  Siena. 

L.  I,  sol  10. 


272  APPENDIX 

Item,  de'  dare,  a  di  5  de  Aprile  1506,  ducati  dece  qualli 
hebe  presente  el  p.  Priore  da  comprare  colori  a  FoHgno, 
2oe  due.  10.     .         .         .         .     L.  70. 

Item,  de'  dare,  a  dl  8  dicto,  hebe  Vincenti  per  suo 
conto  sol.  venti,  presente  f.  Augustino  converse. 

L.  I. 

Item,  a  dl  dicto  a  Melchion  sol.  sedece  per  comprarsse 
uno  par  di  scharpe  .  .  .     sol.  16. 

Item,  de'  dare,  due.  deci  quelli  hebe  dal  p.  Abbate 
per  compito  pagamento  de  \di  prima  istoria. 

L.  70,  sol.  o. 

Item,  a  dl  cinque  di  magio  hebbeunacappa,uno  giubone 
di  velluto,  uno  burrico  divelluto  negro.  Item,  uno paio 
di  calze  di pavonazo  ckiaro,  una  birretta  negra,  un  cappello 
con  la  benda  di  seta,  uno  feltro  da  cavalcare,  ciod  uno 
gabbano,  uno  paio  di  scarpe  di  velluto,  una  spada,  due 
camise  lavorate,  quali  erano  di  fra  Giovanni  Ambrogio 
nostro  frate  et  eranno  rimasti  di  accordo  di  prezzo  di  sapra 
dette  cose  et  abia  a  pagare  ducati  d  oro  trenta  cinque, 
quali  luy  confesso  kavere  havuti  da  me  frate  Evangelista 
da  Viterbo  celleraio.  Cioe  Lire  due  cento  quaranta 
cinque     .....     Cioe  L.  245.^ 

Item,  hebe  ducati  duy  d'  oro  quali  spese  el  R.P.  Abbate 
ad  Milano  per  luy  per  tanta  tela,  cioe  br.  20  di  Milano 
sonno  circa  L.  14. 

Sonno  in  tutto  lire  quattrocento  novanta  due  Soldi  s. 
uno,  portati  ad  questo  innanzi  a  f.  92  dove  e  el  credito 
suo  .....     L.  492,  s.  I. 

1505  (p.  62). 

Item,  a  dl  20  septembre,  per  libre  6  di  came  compro 
Andrea  nostro  garzone  a  Buonconvento  per  li  infermi  e 
per  li  depentori        .         .         .     s.  1 6 

These  last  two  entries  are  on  p.  53*-  and  in  a  different  handwriting. 


DOCUMENTS  273 

1505.    Settembre  25  (p.  62). 

Item,  a  dl  dicto  per  libre  14  di  came  per  li  garzoni 
et  infermi  et  depentori  soldi  1 4  e  soldi  7  spese  Valentino. 

L.  I,  s.  I. 

1505.     Novembre  16  (p.  63*). 

Item,  a  di  dicto  per  carne  per  li  depentori  et  infermi. 

sol.  8. 
Item  a  di  dicto  me  assegna  el  p.  priore  nostro  speso 
L.  5  per  la  pitanza  del  pesso  per  el  convento  et  per  una 
somma  di  carbone  et  carne  per  infermi,  etc. 

Lire  5. 

(p.  64). 

Item,  a  di  24  dicto  per  la  pitanza  del  pesso  pel  con- 
vento lire  2  Sol.  18  den.  4,  et  per  carne  per  li  infermi  et 
depentori:  sol.  8.  et  4  manichi  di  vanghe  sol.  7  sono  in 
tucti  .....     Lire  3,  sol  13,  den.  4. 

Item,  a  di  28  dicto  per  la  pitanza  del  pesso  pel  con- 
vento lire  2  e  soldi  18  den.  4.  et  soldi  vinti  di  carne  per 
infermi,  dipentori  e  famegli  sono  in  tutto. 

L.  3,  sol.  18,  den.  4. 

1505.     dicembre  7  (p.  64*). 

Item,  a  di  di  dicto,  per  libre  4  di  carne  per  li  infermi  et 
depentori  sol.  8         .         .         .     sol.  8. 

1505.    Januarii  11  (p.  65*). 

Item,  a  di  dicto,  per  tordi per  li  infermi  et  depentori. 

sol.  12. 

1506  (p.  66). 

Item  a  di  primo  Y ^x2iXO  per  carne  per  li  infermi  et 
depentori  sol.  1 2  et  al  fornaro  sol.  30. 

Lire  2.  sol  2. 

18 


274  APPENDIX 

1506  (p.  69)/ 

Item  a  di  16  di  magio  soldi  dieci  al  depentore  per 
came  come  appare  al  libro  R.  ad  conto  del  P.  abbate  ad 
carte  217  .         .         .         .     sol.  10.^ 

Item  a  di  23  per  came  al  dipentore  a  libro  R.  a.  c. 
217  .         .         .         .         .     sol.  10. 

Item  a  di  24  ad  Vincentio  per  commissione  del  dipentore 
Suo  portione  a  libro  R.  a  c.  217.  Come  appare  ad  carte 
92  di  questo    ....     lire  i.^ 

1506.     Maggio  26  (p.  69*). 

Item,  per  colla  e  magliette  al  dipentore  appare  al  conto 
del  debito  del  R.  P.  Abbate  a  libro  segnato  R.  216 

L.  o,  sol.  4,  den  8. 

(do.) 

Item,  a  di  29  di  maggio  per  came  per  el  dipentore, 
&c.  .         .         .         .         .     L.  I,  sol.  2. 

(do.) 
(On  June  3rd  there  is  a  notice  of  meat  ''for  the  sick 
and  the  painters^'  from  which  the  latter  are  struck  out.) 

Item,  per  pagare  el  pintore  al  suo  giubone  a  di  di  detto 

Lire  2.  (?) 

1506.     Maggio  (p.  91*). 

Giovanni  Antonio  dipentore  del  nostro  claustro  per  uno 
soldo  facto  insieme  de  li  danari  quali  ha  havuti  dal  Celle- 
lario  passato,  cioe  fra  Benedetto  da  Milano,  come  appare 
posta  per  posta  ad  questo  a  c.  52/2/53  deve  dare  Lire 
duecento  trentatre  soldi  uno  :  el  saldo  fu  facto  a  di  1 7  di 
Magio  millesimo  detto  di  sopra,  cioe 

L.  233,  sol.  I. 

*  Observation. — On  this  page  (69)  there  are  two  entries  of  expenses 
^^  quando  venne  Fandolfo."     Is  this  Pandolfo  Petrucci? 
^  This  notice  has  been  cancelled. 
3  This  has  also  been  cancelled. 


DOCUMENTS  275 

Item,  deve  dare  a  di  10  di  Magio  lire  quattordici,  quale 
hebbe  per  tanto  panno  di  lino  li  compro  el  R.  P.  Abbate 
ad  Milano        .         .         .         .     L.  14,  sol.  o,  den.  o. 

Item,  deve  dare  per  panni  e  vestiti  di  velluto  et  altre 
cose  havute,  come  appare  cosa  per  cosa  in  questo  a  c.  53,  e 
rimasto  d'  accordo  di  tutte  di  lire  ducento  quaranta  cinque, 
e  lire  ducento  quaranta  cinque  (sic) 

cioe  L.  245,  sol.  o,  den.  o. 

Item,  deve  dare  lire  una,  datacontanti  ad  Vincentio  suo 
garzone  per  sua  commissione  a  di  xxiiij.  di  magio  presente 
fra  Paulo  converso  da  Faenza  lire  i,  sol.  o,  den.  o,  come 
appare  ad  uscito  scritto  ad  questo  a  c.  67 

L.  I,  sol.  o. 

Item,  deve  dare  per  colla  e  magliette  da  giubone  a  dl 
27  di  Magio    .         .         .         .     L.  o,  sol.  4. 

Item,  dare  per  panico  per  gli  ucelli. 

Item,  deve  dare  lire  due,  quali  li  dette  contanti  presente 
Baptista  Ciacci  e  Marchionne  in  cella  per  pagare  la  factura 
del  giubone     .         .         .         .     L.  2,  sol.  o. 

Item,  a  dl  11  di  Giugno  \\^^  Marchionne  s,\io  garzone 
per  comprare  un  paio  di  scarpe  quando  meno  un  cavallo 
ad  Sena  ,         .         .         .         .     L.  o,  sol.  16,  den.  o. 

Item  a  di  29  di  Giugno,  hebe  lire  due  presente  Guerrieree 
Francesco  Britij,  disse  li  voliva  per  pagare  le  scarpe  e  lo 
sarto  ad  Buonconvento  a  °i.  R.  a.  c.  217 

L.  2,  sol.  o,  den.  o. 

Item,  deve  dare  lira  una  quale  detti  ad  Vincentio  suo 
garzone  per  sua  commissione  a  di  23  di  luglio,  presente 
fra  Olivierij      .         .         .         .     L.  i,  sol.  o. 

Item,  deve  dare  a  di  5  di  agosto,  soldi  quindici  presente 
Nicolo  converso  e  fra  Oliviero.     L.  o,  sol.  15,  den  o. 

Item,  deve  dare  soldi  12  quali  hebe  Marchionne  dal 
P.  Priore  a  di  8  per  comprare  uno  paro  di  scarpe  de  Maso 
di  Mariano  del  Vechia     .         .     L.  o,  sol.  12. 

Item,  a  di  17  d'  agosto  hebe  dal  P.  Priore  ad  Sena  con- 
tanti per  pagare  scarpe,  presente  me  cellerario  lire  due 
sol.  10     .         .         .         .         .     L.  2,  sol.  10,  den.  o. 


276  APPENDIX 

Item,  a  di  3  di  septembre  hebe  lire  quatordici  per  dare 
ad  Vincentio  quando  ando  ad  San  Gimignano  li  de'  el 
R.P.P.  fra  Constantino  da  Milano  come  appare  a  la  scripta 
facta  ad  detto  Vincentio  a  1°.  R.  c.  225 

L.  14,  sol.  o. 

Item,  a  di,  hebe  soldi  6  quali  li  spendei  per  luy  a  di  19 
di  septembre  in  libra  una  di  verde  terre  e  oncie  i  di  gomma 
draganti  dal  nostro  spetiale  e  da  Giorgio  Vieri 

L.  o,  sol.  6. 

Item,  deve  dare  lire  una  quali  hebe  a  di  27  di  septembre 
in  celleraria  presente  el  Charavita  e  lo  fiorentino 

L.  I,  sol.  o. 

Item,  a  di  27  sol.  12  quali  fe'  dare  Marchionne  per  suo 
debito  ad  Mariano  del  Vechia  presente  el  Voltolina  e  fra 
Benedetto  sta  la  badia  Rofeno.     L.  o,  sol.  1 2. 

Item,  a  di  penultimo  di  septembre,  hebe  Vincentio  suo 
dipentore  per  comprare  pignatti  el  didimercato  di  Chiusure 
lira  una  .         .         .  .         .     L.  i,  sol.  o. 

Item,  a  di  27  di  ottobre  per  comprar  biada  ad  Antonio 
nostro  per  lui  ad  Asciano  .      Lire  7,  sol.  o. 

E  piu  fe'  dare  el  P.  Priore  lire  due  per  biada  ad  luj 
contanti  a  di  29  di  ottobre  lire  cinque,  sonno  in  tutto  lire 
septe  in  celleraria    .  .  .     L.  7,  sol.  o. 

L.  516,  sol.  16,  den.  (8). 


(P-  75.) 
Et  piu  sol.  quattro  ad  fantone  per  fare  bianchi  panni  al 
dipentore  per  lenzole  e  tovaglie  ad  8  di  Novembre 

^n1     A 


(p.  92.) 

Item,   dare   havere   lire    vintuna   gli    date   ad  me  fra 
Xristoforo  da  Viterbo  che  mi  serba  stanti  cioe^ 

L.  21. 

*  This  item  has  been  also  cancelled. 


DOCUMENTS  277 

(p.  92.) 
Giovanni  Antonio  contrascripto  deve  havere  per  una 
historia  quale  ha  facta  ne  la  faccia  verso  1'  uscio  del  Refec- 
torio,  cioe  la  prima  dove  sonno  le  donne  che  ballano,  ducati 
dece  d'  accordo  cosi  cioe  lire  settanta 

L.  70,  sol.  o. 
Item,  deve  havere  per  septe  altre  historie  ne  la  medesima 
facciata  ad  rasone  di  ducati  septe  la  historia,  lire  343 

Lire  343. 

1506  (p.  92*). 
Giovanni  Antonio  dipintore  deve  dare  lire  cinquscento 
ventisei,  soldi  sedici,  den.  otto,  come  appare  in  nel  foglio 
indicto  a  c.  92  .  .  .     L.  526  :  16:8. 

Item,  deve  dare  lire  una  data  ad  Marchionne  a  di  5  di 
ottobre  per  la  biada  ad  Asciano      L.  i . 

Item,  a  di  10  di  novembre  per  pagare  la  portatura  de 
la  biada  d'  Asciano  .         .     L.  o,  sol.  9. 

Item,  deve  dare  lire  quindici  e  soldi  diece,  dei  quali  ho 
dati  ad  Vincentio  per  lui  a  di  12  di  novembre  millesimo 
soprascripto  per  el  salario  di  detto  Vincentio 

L.  15,  sol.  10. 
E  piii  a  di  1 3  di  novembre  soldi  7.  -aA Marchionne  quando 
Vincentio  si  parti  che  ando  a  Sena  appare  a  1°.  R.  c.  235 

L.  o,  sol.  7. 
Item,  deve  havere  lire  21  dati  ad  me  in  deposito. 
Posto  in  questo  dinnanzi  a  c.  94. 

L.  434. 
Portata  in  questo  a  c.  200. 

526  :  16  :  8. 

434  :    o  :  o. 

Posto  tnnanzidiC.  94.         .     L.  092  :  16  :  8. 

(P-  93-) 
Giovanni   Antonio   contrascripto    deve    havere   come 
appare  in  questo  indicto  al  foglio  imediato  a  c.  92,  lire 
quattrocento  trenta  quattro       .     L.  434,  sol.  o,  den.  o 


278  APPENDIX 

1506.     Exitus  Pic  tori s  (p.  93*). 

Giovanni  Antonio  dipentore  deve  dare  lire  novanta  due, 
sol.  sedici,  den.  8,  come  appare  in  questo  indicto  a  c.  92 

L.  92,  sol.  16,  den.  8. 
Item,  deve  dare  lire  una  data  ad  Marchionne  suo  a  di 
5  di  ottobre  per  biada  che  compro  ad  Asciano 

L.  o. 
E  piu,  a  di  10  di  novembre,  per  pagare  la  portatura 
d'  una  soma  di  biada  d'  Asciano  sol.  9 

L.  o,  sol,  9. 
Et  piu  deve  dare  lire  quindici  soldi  dieci,  quale  detti  per 
sua  commissione  ad  Vincentio  quando  fece  conto  con  lui 
a  di  1 2  di  novembre,  per  salario  di  detto  Vincentio 

L.  15  :  10  : o 
A  di  13  novembre,  et  piu  soldi  sette  2lA  Marchionne  per 
dare  a  dicto  Vincentio  quando  parti,  a  di  dicto 

L.  o,  sol.  7. 
Et  piu,  adi  27  di  novembre,  lira  una  hebe  da  me  Celler- 
ario  contanti  per  dare  ad  uno  d'  uno  tondo  di  legno 

L.  I.  o.  o. 
Et  piu  a  di  29  di  novembre  per  una  groppiera  e  testiera 
e  pettorale  pagai  al  Sellario  nostro  per  el  suo  cavallo  ad 
Sena  presente  Antonio  nostro  de  la  stalla,  Lira  sei,  soldi 
quindici  .  .  .         .  .      L.  6,  sol.  15. 

Item,  deve  dare  soldi  18  fatti  boni  ad  Biasio  Malandrini 
per  lui  d'  una  vittura  de  li  tondi  fece  venire  da  Sena  a  di 
28  di  novembre    .         .         .         L.  o,  sol.  18. 

Item,  a  di  21  soldi  7  per  pagare  li  panni  imbiancati 

L.  o,  sol.  7. 
Item,  a  di  22  di  decembre  soldi  vinti  ad  Marchionne 
per  lui  presente  fra  Hieronimo  cappellano  a  la  Abbadia 
disse  voleva  comprare  scarpe  .      L.  1,  sol.  o. 

Item,  a  di  23  di  dicembre,  hebe  ditto  Giovanni  Antonio 
lire  cinque  contanti  in  cellereria  quando  ando  ad  Sena  per 
li  denari  de  li  tondi .         .         .     L.  5.  o.  o. 


DOCUMENTS  279 

Item,  a  di  6  di  Febbraio  soldi  30  ad  Marchionne  per  lui 
disse  voleva  comprare  galline  quando  acconciava  le  reti  de 
lo  chiostro        .         .         .         .     L.  i,  sol.  10. 

A  di  24  di  febraio  soldi  4  per  oncie  due  di  giallolino 

L.  o,  sol.  4. 
A  di  2  di  marzo  lire  due  quando  ando  per  lo  cunto  pure 
del  R.  P.  Priore  nostro    .         .     L.  2,  sol.  o. 

A  di  detto,  per  comprare  uno  quinterno  di  carta  reale 
sol.  12,  lo  compro  lo  padre  priore  di  Sena 

L.  o,  sol.  12. 
A  di  1 1  di  marzo  lire  septe  ad  Marchionne  le  hebe  da 
fra  Olivieri  per  comprare  biada     L.  7,  sol.  o. 
E  piu  per  libre  12  di  colla  a  di  13  di  marzo 

L.  o,  sol.  4. 
E  piu  a  di  30  di  Marzo  lira  una  ad  Marchionne  per  lui 
per  la  via  di  Sena    .         .  .     L.  i ,  sol.  o. 

E  piu  a  di  .  .  .  di  .  .  .  lire  septe  dal  R.  P.  Abbate  per 
pagare  uno  paio  di  calze  negre  de  Fiorenza 

L.  7,  sol.  o. 

L.  144,  sol.  12,  den.  8. 

1507  (p.  94)- 

Et  piu  deve  dare  lire  due  facti  boni  per  lui  a  M"  Nicole 
maniscalco  d'  Asciano  per  medicatura  del  suo  cavallo, 
appare  a  libro  R.  a  c.  162         .     Lire  2,  sol.  o. 

E  piu  a  di  16  d'  aprile  lire  due  dati  per  comprare  la 
biada  ad  fra  Andrea  Cossa^  per  lui  L.  2,  sol.  o. 

Et  piu  deve  dare  a  di  ditto  lire  2 1  per  panni  hebe  da 
fra  Ambrosio  da  Cremona  cioe  uno  giubone  di  damasco 
negro,  uno  pugnale  indorato  ed  uno  paio  di  cortellim 
d  argento  d'  accordo  cosi  dal  R.  P.  Abbate 

L.  21,  sol.  o. 

^  Cf.  S.  Anna  in  Creta  document. 


28o  APPENDIX 

Et  piu  deve  dare  lire  due  soldi  quindici,  de  li  quali  ne 
ho  dati  soldi  30  al  P.  Abate  di  San  Miniato,  per  tanti  colori 
per  sua  commissione  e  soldi  25  ad  Antonio  de  la  stalla  per 
sua  commissione  sono  messi  a  libro  R.  a  c.  229 

L.  2  :  15. 

Et  piu  deve  dare  lire  septe  date  ad  Marchionne  per  sua 
commissione  a  di  1 5  di  magio,  date  di  quelli  del  deposito 

L.  7,  sol.  o. 

Et  piu  deve  dare  soldi  10  a  di  30  di  magio  per  uno 
quinterno  di  charta  reale  per  fare  il  disegno  de  la  istoria 
dela  porta         .  .  .  .      L.  o,  sol.  10. 

Et  piu  a  di  15  di  giugno  deve  dare  lire  quattordici  con- 
tanti  da  me  del  deposito  .  .      L.  14,  sol.  o. 

Et  piu  a  di  18  di  detto  deve  dare  lire  quarantadue  quali 
hebe  contanti  dal  R.  P.  Abbate  in  ducati  sei  d'  oro  in 
cellereria  presente  el  R.  P.  Priore  L.  42,  sol.  o. 

Et  piu  deve  dare  a  di  1 5  di  luglio  1 507  lire  quattordici 
soldi  nove  dati  per  comprare  stara  22 J  d'  orzo  ad  ragione  di 
soldi  13  lo  staro  ad  Asciano     .      L.  14,  sol.  9 

Et  piu  soldi  4  per  la  vittura  d'  una  soma  di  detto  orzo  a 
quello  di  Piochi  e  piu  per  ferrare  el  cavallo  alio  Spenna  ad 
Asciano,  sol.  due  den.  otto  sono      L.  o,  sol,  6  :  8. 

Et  piu  deve  dare  a  di  6  d'  agosto  lire  ventiuna  soldi  7 
quali  detti  presente  Senzo  Ciacci,  disse  volere  comprare 
biada  ad  Asciano  in  cellereria  nostra  e  furo  tre  ducati  d'  oro. 

L.  21,  sol.  7. 

Et  piu  a  di  10  d' agosto  deve  dare  lire  4  soldi  13  quali 
hebe  dal  R.  P.  Priore  nostro  per  pagare  uno  contadino,  li 
porto  fra  Giovanni  Delfinale  converso  nel  claustro  dipinto. 

L.  4,  sol.  13. 

Seguita  questa  escita  a  V  altra  banda  di  questa  a  c.  g^f. 

1507  (p.  94*) 

A  di  28  di  agosto  deve  dare  soldi  dieci  li  dette  el  R.  P. 
Priore  per  me  per  dare  ad  quello  da  Verzelli  che  andava 
ad  Roma         ,         ,         .         .     L.  o,  sol.  10, 


DOCUMENTS  281 

A  di  29  di  septembre  lira  una  soldi  uno,  per  la  fiera  di 
Chiusure  .         .         .         .     L.  i,  sol.   i, 

A  dl  detto  soldi  7  hebe  parte  per  uno  rasoio  compro  ad 
Chiusure  da  Giuliano  nostro  soldi  sei  et  soldi  uno  per  verde 
terra  al  Padre  cellerario  di  S.  Anna. 

L.  o,  sol.  7. 

A  di  6  di  ottobre  lira  una  soldi  dieci,  presente  el  R.  P. 
Priore,  disse per  comprare  tondi     L.  i,  sol.  10. 

A  dl  1 1  di  ottobre  hebe  dal  R.  P.  Priore  nostro  ducati 
uno  d'  oro  per  andare  ad  S,  Gemignano,  e  ducati  uno  di 
camera  ad  Francesco  per  comprare  smalto  ad  Agobio,  per 
lire  13,  sol.  16  .         .         .     L.  13,  sol.  16. 

A  dl  ultimo  di  ottobre  deve  dare  lire  due  contanti  pre- 
sente el  portinaio  e  Betto  Ciacci,  disse  per  dare  ad  Nicco 
Senzi  per  le  scarpe  et  altre  cose  ad  Buonconvento. 

L.  2,  sol.  o. 

A  dl  13  di  novembre  soldi  due  per  meza  libra  di  verde 
terra  compro  Biasio  ad  Sena  per  lui. 

L.  o,  sol.  2. 

A  di  14  di  novembre  lire  una  soldi  dieci  disse  per  dare 
parte  a  Ton  Calapa  et  parte  al  beccaio. 

L.  I,  sol.  ro. 

A  di  24  di  novembre  deve  dare  lire  septe  pagai  per  lui 
a  M°  Lorenzo  calzettaro  in  Sena  scontro  ad  Antonio 
Piccolomini,  presente  fra  Jo.  Andrea  Canobino. 

L.  7  :  o  :  o. 

A  di  1 3  di  dicembre  soldi  2  per  libre  meza  di  terra  verde. 

L.  o,  sol.  2. 

A  di  24  di  decembre  lire  dieci,  sol.  dieci,  hebe  presente 
el  Pisano  per  pagare  nove  carlini  la  paglia  de'  Machetti  e 
per  dare  la  mancia  al  Pisano  Lippi  Topi. 

L.  10,  sol.  10. 

A  di  6  di  gennaio  deve  dare  lire  vintuna  contanti  pre- 
sente frate  Giovanni  Andrea  Canobino  et  fra  Pietro  da 
Ponte  Tremoli  converso  .     L.  2  i ,  sol.  o. 

A  di  28  di  gennaio  soldi  undici  ad  Simone  Ciacci  per 
uno  cappone  compro  da  lui       ,     L.  o,  sol,  ii, 


282  APPENDIX 

A  di  i")  di  Marzo  lire  due  sol.  sedicj  quali  dettj  ad  Jaco- 
mino  da'  riozo  per  carne  havuta  da  lui  in  piu  volte  per  sua 
commissione,  presente  Pasquo  di  Goro  e  lo  portinaio. 

L.  2,  sol.  i6. 

L.  62  :  15  :  o. 

(P-  95.) 
A  di  6  di  Aprile  sol.  sei  in  oncie  3  giallolino  et  soldi  3 
den.  4  in  pani  dieci  di  gesso  e  soldi  3  den.  4  in  libre  10  di 
colla   di   carniccio,    quali    gli    mandai    per    Bartholomeo 
famiglio  .  .  .  .  .      L.  o,  sol.  12,  den.  8. 

A  di  1 5  di  Aprile  lire  due,  soldi  cinque  pagai  uno  centolo 
a  la  bottica  di  M°  Giovanni  Spagniolo  per  lui  presente  M° 
Lorenzo,  com  par  suo  calzettaro.     L.  2,  sol.  5. 

A  di  28  di  aprile  lire  cinquanta  ottocontanti  per  dare  ad 
Giulio  Landucci,  presente  el  R.  P.  Priore. 

L.  58,  sol.  o. 
A  di  16  di  magio  1508  lire  ventiuna  presente  el  R.   P. 
Priore  nostro  et  el  P.  Cellerario  di  S.  Gemignano,  per 
comprare  oro  ad  Sena       .  .     L.  21,  sol.  o. 

L.  81,  sol.  17,  den.  8. 
Somma  in  tutto  quello  ha  havuto  da  nuj  come  appare  in 
questo  a  c.  92  e  c.  94,  lire  et  qui  di  sopra  lire  ottocento 
trentaquatro  soldi  sei  den.  otto :  cioe 

L.  834  :  6  :  4. 

Posto  in  questo  a  c.  106. 
1508  (p.  105*). 

Giovanni  Antonio  infrascritto  deve  dare,  a  di  22  di 
magio,  lire  ottocento  trenta  quattro  sol.  sei  den.  8  per  uno 
conto  levato  in  queste  a  c.  95.       L.  834  :  6  :  8   {sic) 

E  de'  dare  a  di  1 1  di  giugnio  1508,  L.  sette  contate  a  lui 
presente  Benedetto  e  Francesco  nostro  comessi  apare  a  la 
scripta     .         .         .         .         .     L.  7. 

E  de'  dare,  a  di  25  dicto,  ducati  quatro  contati  a  lui 
funo  tanti  carlini,  presente  lo  P.  Visitatore  e  fra  Thomaxo 
da  Peruxa  apare  a  la  scripta     .     L.  28  :  o  :  o 


DOCUMENTS  283 

A  di  8  di  luio  carlini  sei  contanti  a  lui  ne  la  stalla,  disse 
volere  cambiare  in  carlini  tuxi  per  lui  che  aveva  a  Sciano. 

L.  I,  sol.  10. 

A  di  19  ditto  carlini  sette  contanti  a  lui  per  mandare  a 
tore  oro  et  altre  sue  cossette  presente  fra  Bernardo  da 
Siena L.  3,  sol.  10. 

A  di  20,  carlini  sette  la  quali  gli  detti  contanti  suxo  lo 
murello  de  la  stalla,  disse  voleva  mandare  a  pagare  Ciacca 
a  Sciano,  presente  frate  Christofuletto. 

L.  3,  sol,  10. 

A  di  24,  carlini  quatro  e  mezo  a  lui  contanti  per  com- 
prare  oro,  fanno  tanti  quatrini  .     L.  2,  sol.  5. 

A  di  5  di  agosto  duchati  venticinque  d'  oro  larghi  li 
quali  li  detti  presente  lo  P.  Priore  in  cellereria  presente 
fra  Joanni  di  Lodi  cellerario  minore,  sono  in  moneda. 

L.  175,  sol.  o. 

A  di  dieci,  dughati  venti  d'  oro  in  oro  larghi  che  sono 
per  uno  cavallo  domandato  el  Draghetto  di  pello  baio 
oschuro  lo  quale  hebe  dal  Reverendo  p.  Abate  fino  a 
di  6  di  marzo  proximo  passato  d'  achordo  insieme  sono  a 
monede  .         .         .         .         .     L.  140,  sol.  o. 

A  di  di  13  detto  dughati  venti  d'  oro  in  oro  larghi  con- 
tanti a  lui  in  cella,  le  quali  gidette  lo  P.  Priore  presente 
me  cellerario  e  lo  cellerario  minore,  sono  in  monede. 

L.  140,  sol.  o. 

A  di,  dughati  dexe  dotto  (diciotto  ?)  d'  oro  in  oro  larghi 
contanti  a  lui  presente  lo  P.  Priore  e  fra  Agostino  di 
Biscaria  .         .         .         .         .     L.  126. 

1508  (p.  106). 

Giovanni  Antonio  dipentore  deve  havere  lire  quattro- 
centotrentaquattro  come  appare  in  questo  a  c.  92  in  tre 
partite     .         .         .         .         .     L.  434,  sol.  o,  den.  o. 

Et  piu  deve  havere  ducati  septantasepte  per  undici 
historie  quali  ha  facte  nel  claustro  verso  el  dormitorio 
de'  vechi,  che  sonno         ,         ,     \..  539,  sol.  o,  den.  o, 


284  APPENDIX 

Et  piu  de  havere  ducati  otanta  quatro  d'  oro  che  sono 
per  dodici  storie  che  lui  a  fato  nel  claustro  supra  scripto 
che  sono  ....    L.588  :  o  :  o 

Somma         .         .  L.  1561  :  o  :  o 

(p.  106*). 

M°  Giovanni  Antonio  infra  scripto  de'  dare,  a  di  22  di 
agosto  1508,  dugati  tre  d'  oro  larghi  H  quali  gli  detti  pre- 
sente  lo  padre  Priore  in  cella  del  R.  P.  Abbate  presente 
Agostino  da  Mulazo  sono         .     L.  21,  sol.  o. 

Et  de'  dare  Lire  settantaotto  sol.  18  den.  4,  li  quali 
sono  per  molte  spexe  extraordinarie  et  ordinarie,  fatone 
raxone  insieme  d'  accordo  presente  lo  m°  Agostino  nostro 
da  Biscaria  da  Paviae  e  Paulo  de  Giovanni  goro  fabro  di 
Buonconvento  questo  di  13  di  agosto. 

L.  78,  sol.  18,  den.  4. 

Nota  che  n'  apare  quietanza  de  mano  del  sopra  detto 
M°  Giovanni  Antonio  posta  ne  la  cassa  del  R.  P.  Abate. 

Maestro  Giovanni  Antonio  da  Verzelli  depentore  de 
havere  lire  novanta  nove  sol.  18,  den.  4  di  monede  senesi 
sono  per  resto  de  una  sua  ragione  levade  en  aprovade  in 
questo  a  c.  106        .         .         .     L.  99,  sol.  18,  den.  4. 

1506.  Memoria  (^.  125). 
Pacto  facto  con  M°.  Giovanni  Antonio  dipentore  per 
causa  del  cavallo  quale  tene  in  casa  a  le  spese  nostre  del 
fieno  solo  :  cioe  che  si  deve  vedere  quanto  fieno  mangia 
fra  il  di  et  la  notte  e  computare  quanto  vale,  et  cosi  deve 
pagare  cominciando  a  di  primo  di  ottobre  1506  per  fino  ad 
capitulo  proximo  futuro,  presente  Marchione  suo  ragazo  in 
cellereria,  etc.  Et  piu  poi  ha  tenuto  il  cavallo  passato 
capitolo  del  1 507  per  fino  ad  questo  di  che  si  partir^  di 
qua  e  che  mandar^  via  detto  cavallo. 

1506.  Memoria  {^.  126). 

Memoria  de  li  pacti  havemo  facti  con  M°  Giovanni 
Antonio  pictore  per  causa  de  la  spesa  del  suo  cavallo  che 


DOCUMENTS  285 

tene  in  casa  circa  al  fieno  che  nuj  li  diamo,  cominciando 
questo  di  1 9  di  ottobre,  cioe  che  deva  dare  lire  .  .  .  ogni 
mese  per  el  detto  fieno  che  mangia  el  suo  cavallo  per  fino 
ad  tanto  che  ce  lo  terr^  et  cosi  luj  e  contanto  et  unj 
similmente ;  presente  Antonio  da  Cremona,  Marchione 
suo,  in  celleria  nostra. 

Porta  al  Memoriale  D.  a  c.  139. 

No.  9. 

Marriage  Contract  of  GIOVANNI  ANTONIO,  son  of  GlACOMO 
Bazzi,  <?/Vercelli,  ««^  Beatrice,  daughter  of  Ijjca  de' 
Galli  of  Siena. 

Archivio  Notarile  ProvincialejDI  Siena.  Rogiti 
di  Ser  Alessandro  di  Niccolb  delta  Grammatica.  Atti 
anteriori  al  1585.  Reparto  A.  \A.tti  Notarili\  Busta 
No.  193.  Filza  dal  1507  al  1515.  No.  61.  1510.  2Z  di 
Ottobre. 

Anno  Domini  MDX.  indie tione  XIII.  die  xxviii.  octobris. 

Johannes  Antonius  Jacobi  de  Bazis  pictor  de  (Verze) 
fuit  confessus  habuisse  et  recepisse  pro  dotibus  domine 
Beatricis,  olim  figlie  M°Luce  Bartholomei  Egidii.etsororis 
Bartolomei  et  Nicholai,filiorum  dicti  Luce;  et  Bartholomeo 
predicto  dante  et  solvente  non  tarn  ejus  nomine,  quam  vice 
et  nomine  dicti  Nicholai  minoris  viginti  quinque  annorum  ; 
florino  450  de  libris  4  pro  floreno :  cum  pacto  de  anti- 
fatio  ad  rationem  X  pro  centenario,  quos,  in  casu  dotium 
restituendarum,  promisit  restituere  Senis,  Florentie,  Pisis 
etc.  pro  eis  conveniri  et  gravari  voluit  in  forma  Chamere, 
etc.,  ad  sensum  recipientis — pro  quibus  obligavit,  etc.  : 
juravit,  etc.,  renuntiavit — sub  pena  dupli,  etc. 

Insuperstatim  et  incontinenti,  non  obstante  confessione 
facta  per  dictum  Johannem  Antonium  se  habuisse,  etc., 
dicti  Bartholomeus  et  Nicholaus  fecerunt  et  constituerunt 
sese  principales  debitores  et  '^2,^2Xox^'^6Xq.X.o  J oanni  Antonio 
in  florenis  400  ad  dictam  rationem  hinc  ad  duos  annos,  et 
ab  inde  in  antea  ad  omnem  petitionem  et  voluntatem  dicti 
Joannis  Antonii ;  2  florenos  cum  pacto  apposto,  quod 
durante  dicto  tempore  duorum  annorum  dicti  flor.  :  400 


286  APPENDIX 

alimententur  per  dictos  Bartholomeum  et  Nicholaum  ad 
rationem  quinque  flor.  :  pro  centinaio  pro  quibus  obli- 
gaverunt,  etc.  Juravit  dictus  Bartolomeus  major  xxv. 
annorum  predicta  servare,  etc.,  sub  pena  dupli,  etc.,  quam 
penam,  etc.,  et  dicta  pena,  etc. 

Item  reficere,  etc.,  renuntiavit,  etc.,  quibus  quidem,  etc., 
rogantes,  etc.,  actum. 

In  terzerio  Kamollie  in  hospitio  Corone  coram  et  pre- 
sentibus  Paulo  Salvetto  et  Cristophoro  de  Chigiis,  testibus. 

No.  10. 

PEDIGREE   OF   THE    GALLI  FAMILY. 

Drawn    principally    from    Giorgio    Vasari,  Le    Vite,  etc.      (^Commentary. ^ 
Vol.  VI.  p.  404,  Note,     (Firenze  :  Sansoni,  1881). 

EGIDIO 

I 
Bartolommeo. 


LucA,  sumamed  de^  Colli,  m.  1524       =f=-    Caterina  di  Niccol6 


(Landlord  of  the  Crown  and  Goose 
Inns,  Siena). 


di  Peri  ('). 


Beatrice,  Niccol5.  Lodovica,  Bartolommeo, 

m.  1 5 10,  Giovanni  m.  Alessandro  di  banished  from  Siena 

Antonio  Bazzi,  messer  Ettore  de'  Marchesi         for  homicide,  Dec. 

Sodoma  (Painter)  Q\  of  Milan.  9th,  1538  (*). 

'  Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Ventura  di  Cionne  Ciogni  da  Lucignano  in 
Val  di  Chiatia.    Filza  dal  1523-27.    No.  48,     19  Maggio,  1524,    Rep.  A.  Busta,  604. 

"  Arch,  detto.  Atti  Anteriori  al  1585.  Rogiti  di  Ser  Alessandro  di  JNiccolo  delta  Gram- 
matica.    Filza  dal  1507-15.    No.  61.      28  Ottobre,  1510.     Rep.  A.,  Busta  193. 

"  Arch,  di  Stato  di  Sibna.  Ufficiali  di  Custodia  102.  Libra  delle  Condanne  dal  1515-36. 
1538,  9  Dicembre. 

No.  II. 

Acknowledgment  of  Liability  made  by  ViNCENZO,  son  of  BENE- 
DETTO TOMAGNI,  Painter  of  S.  Gimignano,  to  "GIOVANNI 
Antonio  of  Vercelli." 

1 5 1 1 ,  7  di  Giugno. 

Archivio  detto.  Rogiti  di  Ser  Niccolb  di  Poso  di  Gio- 
vanni Posi  da  Montalcino  dal  1505  al  15 12.  Atti  anteriori 
cit.     Rep.  A.  (^Atti  Notarili),  Busta  No,  351. 

In  nomine  Domini  amen.  Anno  Domini  151 1.  In- 
dictione  14,  die  vero  7  Junii,  Julio  2°-  summo   Pontifici 


DOCUMENTS  287 

maximo  et  Max°-  imperatore  Regnantibus  etc.  Pateat  etc. 
qualiter  magister  Vincentius  Bennardi  Chelis  de  Sancto 
Gimignano,  ad-presens  pictor  in  civitate  Senarum,  et 
nunc  excarceratus  de  carceribus  curie  domini  Potestatis 
{de  Monte  Ilicino),  sua  sponte  fecit  et  constituit  se  verum 
et  legitimum  debitorem  et  pagatorem  Jokanf-  pictori  de 
Verzelli  comitatus  Mediolani  et  pro  eo,  mihi  notario 
infrascripto  presente  et  ricepienti  vice  et  nomine  dicti 
Johannis  tanquam  presente  persona  in  ducatis  viginti 
quinque  auri  larcis,  in  quibus,  ut  asseritur,  tenetur  occa- 
sione  nonnullarum  rerum  ab  eo  habitarum ;  *  Quos  25  due : 
dare  promisit  ^\d^m  Jokanf •  pictori  ad  omnem  ejus  peti- 
tionem  et  voluntatem  Senis,  Florentie,  Pisis,  Rome, 
Bononie,  etc.  et  in  quolibet  aliorum  locorum  alibi  sine 
aliqua  exceptione  pro  quibus  sponte  promisit  et  se  obli- 
gavit  in  forma  camere  et  voluit  in  quolibet  aliorum 
locorum  vel  aliter  posse  convenire  in  dictam  formam 
camere  ut  moris  est  cum  omnibus  clausulis  et  obligationibus 
ordinariis,  etc. 

Pro  quibus  servandis  obligaverunt  se  et  suos  heredes  et 
bona  jure  pignoris  ypothecie  renuntians  etc.  et  juravit 
etc.  rogans  etc. 

Coram  et  presentibus  Bartolomeo  Dominici  de  .  .  . 
et  Benedicto  olim  petri  Sutoris  testibus  Senensibus. 

Actum  in  Palatio  domini  Potestatis  in  talamo  dicti 
Palatii. 

Ego  Nicolaus  Posi  notarius — scripsi. 

Note. — In  the  margin,  at  the  head  of  the  document :  "  Obhgazio  di 
25  due:  Maestro  Vincentium  pictorem." 

In  the  margin,  at  the  point  marlced  *  :  "  Valor  quarum  adscendit  ad 
summam  dictorum  ducator :  25." 


288  APPENDIX 

No.  12. 

Agreement  made  by  "GIOVANNI  ANTONIO  Dl  GlACOMO  DI 
Verze  DE  Savoia  "  with  Agostino  Bardi  to  paint  for 
him  either  the  facade  of  his  house  or  an  altar  panel. 

1 513,  9  di  Novembre. 

Archivio  detto.     Rogiti  di  Ser   Mariano   d'  Antonio 
Benucci  {Gestioni  Notarili).     Rep.  A.,  Busta  534. 

Anno  Domini  MDXIII.  Indictione  II.  di  vero  viiii, 
Novembris. 

Johannes  Antonius  facobi  de  Verze  de  Savoia  fecit, 
constituit,  et  solenniter  ordinavit  se  verum  debitorem,  et 
pagatorem  Augustini  Francisci  Toti  de  Senis  ducatorem 
triginta  auri  in  auro  largorum,  et  hoc  pro  uno  equo 
a  dicto  Augustino  habito,  et  recepto  (cum  monimento 
velluti  nigri,  cum  sprangis  deauratis:^)  de  quibus  quidem 
triginta  ducatis  vi^s,^  Johannes  Antonius  promixit  {sic),  et 
se  obligando  convenit  dicto  Augustino,  promixit  pingere 
infra  terminum  otto  mensium,  si  dicto  Augustino  videbitur 
et  ab  eo  fuerit  requisitum,  (^si  non  fuerit  justa  causa 
impeditus,)  unam  parietem,  sive  facciam  domus  dicti 
Augustini,  sive  unam  tabulam  altaris  ad  electionem  prefati 
Augustini,  et  factis  supradictis  picturis  debent  extimari 
per  duos  pictores  eligendos,  unum  pro  quolibet :  et  si 
fuerint  dicte  picture  extimate  ultra  pretium  dictorum  duca- 
torum  triginta,  ipse  Augustinus  promisit  solvere,  et  satis- 
facere  usque  ad  integram  satisfactionem  :  et  si  fuerint 
extimate  minoris  pretii,  ipse  Johannes  Antonius  promixit 
pingere  tantas  picturas  que  ascendant  ad  summam  duca- 
torem triginta.  Et  prefatus  Augustinus  promixit,  et  se 
obligando  convenit  d\cX.o  Jo hanni  Antonio,  quod  dictus 
ecus  {sic  pro  '' equus'')  est  sine  aliquo  defectu  vid.  :  de 
pedibus,  ossibus,  et  oculis,  et  bulsi :  hoc  tamen  iritellecto, 
quod  dictus  Johannes  Antonius  debeat  notificare  prefato 
Augustino  infra  quindecim  dies ;  et  dicto  termino  elapso, 
ipse  Augustinus  non  vult  teneri,nec  obligatum  esse,  etc.  etc.^ 

^  In  the  margin.  ^  Usual  legal  forms. 


DOCUMENTS  289 

Actum  in  Palatio  Magnificorum  Dominorum  coram,  et 
presentibus  Jacobo  Luce  de  Machabrunis,  et  Johanne 
Francisco,  domigello. 

No.  13. 

Letter  from  JaCOMO  V.  PRINCE  OF  PlOMBINO  to  LORENZO   DE' 

Medici  recommending  GIOVANNI  Antonio  Bazzi,  wIw  is 
entering  his  liorses  to  run  in  a  "  Palio  "  at  Florence.  (  Arch. 
DI  Stato  in  Firenze.  Carteggio  Mediceo  privato,  Filza 
n.  114,  c.  191.) 

Magnifice  affinis  hon.  lo  presente  exhibitot*  sera  loan 
Antonio  de  Averze  mio  servitor,  quale  viene  costl  per  far 
correre  sui  cavalli :  et  per  lo  Amore  che  io  li  porto  et 
desiderando  suo  honore  :  Mi  e  parso  Accompagnarlo  con 
le  presenti  mie  da  V.  M.  pregandola  strectamente  voglia 
esser  contenta  ad  mia  complacentia  prestarli  quello  favore 
et  auxilio  li  fusse  opportuno,  che  certamente  ogni  piacer 
sarra  facto  alprefato  loanni  Antonio  lo  reputero  facto  alia 
mia  propria  persona,  et  cosi  ne  restero  conparticular  obligo 
a  V.M.  alia  quale,  in  simile  et  major  cosa,  mi  offero 
sempre  paratissmo,  e  aquella  mi  recomando.  plumbini 
xviii.  Junij  MDXV. 

Come  fratello  di  V.M. 

Lo  S ignore  di  Piobino  (sic). 

(Address)    Magnifico  affini  honor.    Laurentio  de  Medicis; 

Florentie. 

NOTES   CONCERNING   THE   SIENESE   PALIL 

Arch.  Not.  Prov.  Siena.  Bastardello  dei  Quattro  Prov- 
veditori  di  BiccJierna,  nelle  carte  di  Ser  Alessandro  delta 
Grammatica  Not  Rep.  E.,  Busta  21,  Fasc.  5,  p.  28  t.  Atti  di 
Ordinamento  Civile  e  Politico. 

Die  X.  Martij  1512. 

Equi  currentes  per  festum  Sancti  Ambrosii} 

^  The  Feast  of  the  Blessed  Ambrogio  Sansedoni  is  said  to  have  been 
founded  in  1273,  to  commemorate  the  arrival  of  the  Saint  with  the  Bull 
of  Pope  Honorius  IV.,  removing  the  interdict  of  the  excommunication 

19 


290  APPENDIX 

Bartolomeus   Salimbenis  de  panciaticis   de  pistorio — 
Unus  equs  baius  obscurus  cum  media  stella  in  fronte  fre- 
giatus    ex    retro    m,ore    turchescho — Ragazus,    Charolus 
Laurentii  de  Prato. 

Magnificus  Capitaneus  Custodie — Unus  equs  saurus 
cum  puis  albisper  dorsum,  sfacciatus  sfregiatus — Raghazius 
vocatus,  Spera  in  Dio,  alias  di  porta  a  chasa. 

Augustinus  Bardi — Unus  equs  mo7'ellus  meletiutus  cum- 
quddam  muschetta  alba  in  fronte — Ragazius,  Fallattuti  di 
pizaglia. 

Symonettus    de   Cortonio — Unus   equus   baius   clarus 
sfacciatus  balzanus pedis  sinistri  ex  latere  retro — Ragazius, 
Spera  in  Dio  et  nostra  Donna. 
/  Sodoma. —  Unus  equus  leardus  pomellatus  sfregiatus — 

Ragazius,  Tempestinus  de  Modana. 

Item,  unus  equs  leardus  sardus  sfacciatus  moschatus  in 
testa — Ragazius,  Bettus  de  Viterbio. 

Arch,  di  Stato.  Biccherna  883.  Dal  15 13  Luglio  i  al  15 14 
Giugno  30. 

15 14  Giugno  30.     p.  47  e  seg. 

[For  the  feast  of  the  B.  Ambrogio  Sansedoni.VJ 

Marchese  di  Mantua — Unus  equus  armelhnus  iuvenis. 
Item,  unus  equus  dictus  Ciamarone  baius  sfacciatus. 

Domini  Camerini — Unus  equus  armellinus  vetus. 

Magnifici  Capitanei — Unus  equus  baius  dictus  Rubicone 
sfacciatus — Ragazius,  BattagHus  porta  el  pagHo  a  casa. 

from  the  City  (?).  There  were  originally  theatrical  representations  as 
well  as  races,  etc.,  on  that  day.  Whether  it  was  founded  on  the  Saint's 
actual  return,  as  tradition  states,  or  later,  is  not  absolutely  certain  ;  but 
in  this  connection  it  is  immaterial.  Cf.  W.  'Reywoodi,  Falio  and Pontecit, 
chap.  iv.  pp.  68-81.  Alessandro  d'  Ancona,  Origini  del  Teatro  Italiano, 
vol.  i.  chap.  ix.  pp.  100-105.     Torino:  Loescher,  1891. 

^  It  is  to  be  observed  that  there  is  no  date  to  this  entry  ;  it  is  on  a  loose 
sheet  pasted  on  the  back  of  p.  47  ;  ^^1513  Marzo  "  being  written  on  the 
bottom  in  blue  pencil  by  some  modern  archivist.  Moreover,  the  names 
of  the  owners  are  ranged  above,  and  not  alongside,  their  horses. 


DOCUMENTS  291 

Reverendissimas  Cardinallsdepatucciis — Equus  leardus 
sfacciatus  cu^n  F  in  facie  destera. 

Item,  unus  equus  baius  sfacciatus. 

Del  Marchese  della  Sassetta — Unus  equus  seginatus 
rubeus. 

Augustini  de  Bardis —  Unus  equus  morellus  cum  fregio 
— Ragazio,  Ha  paura  di  essere  1' ultimo. 

1513- 

Inferius  describentur  et  notabuntur  omnes  et  singuli 
barbari  qui  current  bravium  in  festo  sancte  Marie  Mag- 
dalene}    In  primis. 

Marchio  Mantue — Unus  equus  leardus  sfregiatus  bor- 
chardus  de  Marchese  Mantuae — Luckas  Calchagnius — Che 
non  puo  manchare,  Ragazius. 

Capitaneus  Platee — Unus  equus  pili  bai  sfacciatus 
sfregiatus  cum  signo  F  in  cossia — Porta  el  palio  a  casa, 
Ragazius. 

Reverendissimus  Cardinalis  de  Petruccijs — Unus  equus 
leardus  pomellatus  sfacciatus  cum  F  in  pede  dexter 0  et  in 
facie  dextera — Scharamucca,  Ragazius. 

Eiusdem — Item,  unus  equus  saurus  sfacciatus  cum  F  in 
cossia  dextera — Vinceguerra,  Ragazius. 

Ducis  Urbini^' — Unus  equs  pili  bay  sfacciatus  sfregiatus 
et  balzanus  pedis  sinistri — Vulpinus,  Ragazius. 

Ducis  Urbini — Unus  equs  leardus  pomellatus  in  rubeo 
cum  F  in  massella  dextera  cum  graticula  in  spina — Spera 
in  Dio,  Ragazius. 

1513- 
Inferius  describuntur  omnes  et  singuli  barbari  qui  cur- 
rent bravium  in  festo  sancte  Marie  Augusti? 

^  July  22nd  (?) 

^  Afterwards  struck  out. 

'  Comparing  this  list  with  the  second  of  those  quoted  above,  it  seems 
probable  that  the  former  refers  to  this  August  Palio  rather  than  to  the 
March  one.  Most  of  the  owners  are  the  same ;  and  so  materially  are 
the  descriptions  of  the  horses, 


y 


292  APPENDIX 

Armellino  Hovano  \  ^^      ,  .     .    ^, 

A        11  J  ■      f  Marchionis  Mantue. 

Armeutno  vechio    J 

Baius  Rubicone — Magnifice  Capitanei  platee. 
Equs  leardus  sfacciatus  cumX  ^  j-    •    •      t-. 

sigmF.infacedextera  Reverendiss.mi      Dommi 

Au  u    •       jr      ■  .  Lardinalis. 

Alter  equs  batus  sjacciatus    ] 

Equs  sagginatus  rubeus — Marchisio  Sassette. 
Equs  morellus — Augustini  Bardi. 
Equs  leardus — Sodome. 

Biccherna  884.     15 14  Luglio  4 — Xmbre  22. 
Die  XXX.  Martii  MDXIIIJ. 

Inferius  describentur  et  notabuntur  omnes  et  singuli 
barbari  currentes  ad  bravium  Sancti  Ambrosii. 

Simonetti  de  Cortonio — Unus  equus  baius  .  .  .  balzanus 
in  pede  retro  et  sfacciatus — Ragazzius,  porta  accasa. 

Reverendissimi  Cardinalis  de  Petrucciis — Unus  equus 
leardus  pome llatus  cum  cruce  ignea  in  fronte — Ragazzius, 
Vulpinus. 

Magnifici  Capitanei  Platee — Unus  equus  leardus  mus- 
catus — Ragazzius,  Sperone  di  gallo. 

Francisci  de  Petrucciis — Unus  equus  baius  cum.  stella  in 
fronte  sfacciatus  in  ore — Ragazzius,  Non  volevo  cianciavo. 

Rapphaelis    Tegrimi   de   Lucca — Unus  equus  leardus 
pomellatus  moscatus  balzanus  ante  et  retro — Ragazzius, 
gattinello. 
V  Soddome — Unus  equus  leardus  moscatus — Ragazzius, 

Batista.^ 

Soddome — Unus  equus  morellus — Ragazzius,  Betto.* 

Die  xviiij.  Aug'*,  15 14. 

Item  decreverunt  citari  cum  cedulis  et  sub  pena  libras 
25  den.  Johanes  Antonius  alias  Sodoma^  quod  per  prima 
ora  iuridica  coinparere  deberet  legitime  coram,  eis,  et  com- 

^  For  some  reason  an  eariy  scribe — apparently  the  original  clerk — 
has  enclosed  these  two  entries  in  a  bracket. 
2  In  the  margin,  "  Sodoma-'' 


DOCUMENTS  293 

miserunt  lo  Batista  nuptio,  qui  retulit  citasse  die  xxij. 
augusti. 

Die  xxiij  augusti,  dicti  Domini  Qttatuorvisa  inobedientia 
dicti  lohannis  Antonii  decreverunt  condemnari  et  condem- 
naverunt,  etc. 

Die  vj  octubris.  Et  decreverunt  concedi  capturam 
Bargelli  realiter  et  personaliter  Johannis  Antonii  alias 
il  Sodoma^  pro  libris  xxv  den.  pro  condemnatione 
inobedientie  jam  facte,  etc. 

"  It  is  to  be  observed  that  none  of  these  races  were  run  in  the 
Piazza,  but  probably,  in  most  cases,  over  the  same  course  as  continued 
to  be  used  for  the  Palio  of  August  15th  up  to  the  time  of  its  abolition. 
And  in  this  connection  it  is  well  to  record  the  fact  that  neither  in  the 
XVl*''  century  nor  afterwards  had  the  Contrade  any  connection  what- 
ever with  the  promotion  or  management  of  those  ancient  Palii  which 
were  run  annually  on  the  Festivals  of  S.  Mary  of  Mid-August,  of  San 
Pietro  Alessandrino,  of  St.  Mary  Magdalene,  and  the  Sant'  Ambrogio 
Sansedoni.  These  were  under  the  exclusive  control  of  the  Commune, 
and,  whatever  may  have  been  the  custom  at  an  earlier  period,  the 
horses  which  took  part  in  them  from  the  XV"*  century  onwards  ran 
without  riders,  even  as  they  do  to-day  in  the  Roman  races  and  in  the 
Palio  of  Acquapendente." — Our  Lady  of  August  and  the  Palio  of  Siena, 
by  William  Hey  wood.     Siena  :  Torrini.  1899,  pp.  164-5. 

No.  14. 

Articles  of  Apprenticeship  entered  into  on  behalf  of  Matteo  DI 
GlULIANO  Balducci  of  Cittd  delta  Pieve  with  "  CavaLIERE 
Giovanni  Antonio  da  Verz^." 

1 5 1 6- 1 7.    II  di  Gennaio. 

Arch.  Not.  Prov.  Siena.  Rogiti  di  Ser  Alessandro 
di  Ser  Francesco  Umani^  ad  annum.  Rep.  A,  Busta 
No.  337.     (In  the  margin  M"-  J"  Anf-  pictore.) 

Al  nome  di  Dio,  a  di  xi.  di  Gennajo  MDXVI. 

Noto  sia  et  manifesto,  come  oggi  questo  di  detto  di 
sopra  Lorenzo  di  Giuliano  di  Lorenzo  di  Balduccio 
maestro  di  legname,  habitante  in  Castel  de  la  Pieve,  alo- 
casi  per  gsivzon^  Matteo  di  Giuliano  (suo  fratello  carnale^) 
con  messere  Giovanni  Antonio  da  Verze  dipintore,  et 
cavaliere,  habitante  nella  citta  di  Siena,  per  tempo  di  anni 
In  the  margin,  "  Sodofne."      ^  See  end  of  document.       ^  In  the  margin. 


294  APPENDIX 

sei  proximi  cominciati  a  Santa  Maria  d'  Agosto  proxima 
passata  MDXVI.,  et  da  finire  con  questi  pati  modi  et 
conditioni  infrascritti,  cioe : 

Imprima  che  per  li  primi  due  anni  detto  Lorenzo  a 
nome  di  detto  Matteo  suo  fratello  sia  obligato  dare  et 
paghare  al  detto  Messer  Giovanni  Antonio  ducati  vinti  di 
carlini,  da  pagharsi  per  detto  Lorenzo  al  detto  Messer 
Giovanni  Antonio  per  tempo  di  anni  quattro,  da  incomin- 
ciarsi  a  Santa  Maria  d'  Agosto  proxima  passata,  et  da 
finire  come  segue,  et  da  inde  in  la  a  posta  et  volonta  di 
detto  Messer  Giovanni  Antonio.  Et  in  detti  sei  anni, 
detto  Messer  Giovanni  Antonio  sia  obligato  darli  le  spese, 
calzarlo  et  vestirlo  convenientemente,  seconda  che  all'  una 
parte  et  \  altra  raconciara,  et  promisene  bene  1'  uno  coll' 
altro ;  et  insegniarli  1'  arte  del  dipengiare  come  se  ricerca 
farsi  al  detto  Messer  Giovanni  Antonio .  Et  talora  che  il 
detto  Matteo  si  partisse,  prima  che  fussero  finite  detti  sei 
anni,  per  colpa  et  difetto  di  detto  Matteo  ;  detto  Matteo  et 
Lorenzo  suo  fi-atello  siano  obligati  satisfare  al  detto  Messer 
Giovanni  Antonio  d'  ogni  spese  damni  et  interesse. 

Et  io  Alexandro  di  Ser  Francesco  notaro  senese  (come 
persona  privata^),  di  volonta  delle  sopradette  parti  (ho 
fatta  la  presente  scriptura  ^),  li  quali  si  sottoscrivaranno  di 
loro  propria  mano  di  cosi  essare,  come  e.  Et  perche  detto 
Lorenzo  non  sa  scrivare,  Anselmo  di  Renaldo  genovese  si 
sottoscrivar^  per  detto  Lorenzo. 

E  io  Giovane  Antonio  so  contento  quanto  de  sopra ;  e 
per  fede  mi  so'  soschrito  de  mia  propria  mano. 

E  io  Anselmo  mi  so'  sotto  ischrito  di  mia  propria  mano, 
per  detto  Lorenzo,  perche  disse  non  sapere  iscrivere. 

E  io  Mateio  so'  contencto  quato  di  sopra  ;  e  pero  me 
so'  sotscrito  di  mia  poropia  {sic)  mano. 

Note. — According  to  the  present  arrangement  in  the  Arch.  Not. 
Prov.  Siena,  this  document  is  to  be  found  under  Umani  :  Ser  Aless- 
andro  di  Ser  Francesco  d'  Antonio  di  Lucignano  in  Val  di  Chiana ;  not 
Ser  Alessandro  di  Ser  Francesco  Martini,  as  Milanesi  prints  it. 

^  In  the  margm. 


DOCUMENTS  295 

No.  15. 

Abstract  from  the  accounts  of  tnoney  expended  on  the  Paintings  in 
the  Oratory  of  the  Confraternity  of  St.  Bernardino  in  Siena. 

Arch.  DI  Stato  di  Siena.    Carte  della  detta  Compagnia, 
Reg.  221,  f.  39.1 

Xo  M.DXVIIJ, 

Le  istorie  di  nostra  chompagnia  diem  dare,  addi  ultimo 
di  dicembre  due,  otto  si  fanno  buoni  per  loro  a  Girolamo 
di  maestro  Giovanni  dipentore  per  la  istoria  de  1'  Angiolo 
che  annunzia  la  Vergine,  a  Lui  in  questo  c.  41. 

d.  8,  L.  Ivj,  sol. 

El  di,  due.  dieci  si  fanno  buoni  per  loro  a  Girolamo 
detto,  che  sonno  per  la  sua  manifattura  de  la  istoria  de 
r  Anunziata,  a  lui  inquestoc.  41.    d.  10,  L.  Ixx,  sol. 

El  di,  due.  ventieinque  faei  in  buoni  per  loro  a  Girolamo 
detto,  ehe  sonno  per  sua  manifattura  de  la  istoria  de  la 
Nattivita  de  la  Vergine  fatto  e  piu  di  fa,  e  sonno  a  lui  in 
questo  e.  41     .         .         .         .     d.  25,  L.  elxxv,  sol. 

El  di,  due.  trenta  faeian  buoni  per  loro  a  Domenicho  di 
lachomo  di  Pacie  dipentore  che  sonno  per  la  sua  mani- 
fattura de  la  istoria  de  lo  sponsalitio  de  la  Vergine  Maria, 
in  questo  c.  41  .         .         .     d.  30,  L.  ecx,  sol. 

El  di,  due.  trenta  si  fanno  buoni  a  Messer  Giov. 
Antonio  detto  Soddoma  per  sua  manifattura  de  la  istoria 
de  r  oferta  del  tempio  de  la  Vergine  Maria,  fatta  piu  di  fa, 
in  questo  c.  42  .  .  .     d.  30,  L.  ccx,  sol. 

El  di,  due.  trentaeinque  si  fanno  buoni  a  messer  Gio- 
vannantonio  detto,  ehe  sonno  per  sua  manifattura  de  la 
istoria  de  la'  neoronazione  de  la  Vergine  Maria,  fatta  piii 
di  fa,  in  questo  c.  42         .  .     d.  35,  L.  ccxlv,  sol. 

^  All  these  entries  appear  in  duplicate,  divided  off  under  the  heads  of 
their  respective  artists  at  the  pages  indicated,  and  (except  the  last  entry 
of  payment  to  Bazzi,  which  is  to  be  found,  at  p.  242,  as  follows:  '"'■  Al 
Sodoma  cavaliere  a  dl  16  di  Giugno  Lire  sedici  per  Mano  di  Ristoro  di 
Giomo  Monigi  come  scritto  sopra  af.  jp  ")  are  in  the  same  handwriting. 

On  p.  42,  under  the  separate  account  of  money  paid  to  Bazzi,  he  is 
described  as  Miss.  Giovannantonio  de  Tizoni  detto  il  Soddoma  pittore 
da  Verzh  :  but  nowhere  else  in  the  entire  account. 


296  APPENDIX 

El  di,  due.  trenta  si  fanno  buoni  a  Domenicho  di  lachomo 
di  Pace  dipentore  da  Siena  per  sua  manifattura  de  la  istoria 
del  Transito  de  la  Vergine  Maria,  fatta  piu  di  fa  cho  a  lui 
in  questo  c.  41  .         .         .     d.  30,  L.  ccx,  sol. 

El  di,  due.  dieei  si  fanno  buoni  per  loro  a  misser  Gio- 
vannantonio  detto  Soddoma  ehe  sonno  per  sua  manifattura 
de  la  istoria  di  Saneto  Franceseo  a  la  finestra,  fatti  piu  di 
fa,  in  questo  c.  42    .         .         .     d.  10,  L.  Ixx.  sol. 

El  di,  due.  quattordici  si  fanno  buoni  a  misser  Gio- 
vannantonio  detto  per  sua  manifattura  de  la  storia  di  Santo 
Lodovieho  cho  la  finestra  insieme,  fatta  piu  di  fa,  in  questo 
e.  42         .  .  .  .  .     d.  14,  L.  Ixxxxviij,  sol. 

El  di,  due.  otto  si  fanno  buoni  a  misser  Giovannantonio 
detto,  ehe  sonno  per  sua  manifattura  de  la  istoria  di  Santo 
Antonio  de  Padova,  fatta  piia  di  fa,  a  lui  in  questo  e.  42. 

d.  8,  L.  Ivj,  sol. 

El  di,  due.  otto  si  fanno  buoni  per  loro  a  Girolamo  di 
maestro  Giovanni  dipentore  per  sua  manifattura  de  la 
istoria  di  Santo  Bernardino  fatta  piu  di  fa,  d'  aehordo  a 
lui,  in  questo  e.  41        .         .         d.  8.  L.  Ivj,  sol. 

1532. 

E  a  di  xvj  di  Giugno  L.  sediei,  sol.  paghati  al  Sodoma 
dipentore  sonno  per  resto  sua  fadigha  e  manifatura  de 
la  storia  de  1'  Asunta  e  eon  aehordo  Girolamo  del  Monigi 
come  si  vede  a  useita  di  Ser  Girolamo  d'  Arigho  in  questo 
a  fo.  242       .         .         .         .  d.  2.  L.  xvj.  sol. 

No.  16. 

Letter  of  Can  AiAEK  Giovanni  Antonio  Sodona/^?  Francesco 
GoNZAGA,  Marquess  of  Mantua,  offering  his  Excellency 
a  picture. 

Arch,  di  Stato  in  Mantova.     isiS,  s  Maggio. 

Illustrissime  Domine  Domine,  mi  Colendissime  salute. 
Passando  pochi  giorni  fa  per  Siena  andando  a  Roma  il 


DOCUMENTS  297 

Signore  *  Aloisi,  el  fratello  parente  di  V.  111.  S.,  degnandosi 
advenire  alia  mia  *  stanza,  andando  per  il  giardino  a  spasso 
gli  dissi  che  harei  desiderio  che  quella  havesse  qualche 
memoria  di  servitu  de  I'opere  mie.  Lui  mi  disse  che 
facendo  un  quadro  con  una  N  ostra  Donna  et  col  Puttino 
et  San  Francesco,  vi  sarebbe  graditissimo.  Harei  caro 
meglio  intendere  se  altro  desiderio  Quella  havessi,  et  in 
questa  state,  Deo  favente,  verro  a  visitare  V.*  111.  Sig"*et 
portero  meco  il  decto  quadro.  Feci  una  Lucretia  per 
V.  111.  S.  et  venendo  a  presentarla  a  quella  fu  veduta  in 
Fiorenza  dal  Magnifico  Giuliano,  et  fui  sforzato  a  lassarla. 
Priegho  V.  111.  S.  si  degni  infallanter  un  minimo  verso 
farmi  intendere  il  desiderio  di  Quella,  et  io  sempre  sono 
prontissimo  a  piacere  di  Quella  :  la  quale  Dio  lungho 
tempo  feliciti. 

E.D.V.S.  Die  Hi.  Maii  mdxviii. 

Io.  Antonius  Sodona  {sic)  Eques  Senis. 
(Address). 

Illmo.  D.  D.  Francesco  de  Gonzaga  Marchioni  Mantue 
Domino  suo  observandissimo,  Mantue. 

No.  16  A. 

From  the  same  with  a  similar  object  to  ALFONSO  d'Este,  Duke 
OF  Ferrara. 

Arch.  Estense  [di  Stato]  in  Modena.     15 18,  3 

Maggio. 

Illustrissime  Domine  Domine,  mi  Colendissime,  post 
humilem  Comendationem.  Salute.  Questa  per  fare 
intendere  come  gia  tempo  fa,  essendo  io  con  la  Santit^  di 
Papa  Leone  a  Fiorenza,  il  vostro  Ambasciadore  mi  dette 
commessione  per  Vostra  S.  dovessi  fare  un  San  Giorgio  a 
cavallo  quando  amazo  la  Vip'',unde  io  I'ho  fatto  et  tengholo 
ad  instantia  di  quella.  Pochi  giorni  fa,  non  longe  da  Siena, 
a  caso  trovai  Io  speti^le  della  Colonna  ferrarese  vostro 

*  This  document  is  in  excellent  condition  except  for  the  erasures  at 
the  points  marked. 


298  APPENDIX 

famigliare  et  a  lui  diss!  ill  tutto,  come  decto  quadro  sta  a 
reqsitione  {sic)  di  quella.  Et  lui  disso  dirlo  a  V.  Illma. 
Signoria. 

Spero  in  questa  estate  conferimi  per  infino  al  Marchese 
diMantovaperchegli  o  a  fare  certi  quadri,  et  per  adventura 
verro  per  infino  a  visitare  V.  Illma.  S.  et  portero  meco  il 
decto  quadro.  Priegho  quella  se  havessi  intento  d'  altra 
cosa  .  .  .  sandomene  (?)  un  minimo  verso  ni  sara  gratis- 
simo  per  fare  cosa  che  piaccia  a  V.  Illma.  S.  alia  quale 
humilmte  [sic)  mi  raccomando,  et  Dio  quello,  lungo  tempo 
felicita. 

Die  iij.  Maii  M.D.  xviij.  E.D.V.S. 

lo.  Antonius  Sodona,  Eques  Senis. 

[Address). 

Illmo.  Domino  Domino  Alfosio  de  Este  Duce  Ferrarie 

Domino  suo  observandissimo.    Ferrarie. 

Note. — This  document  had  been  badly  burnt  before  it  was  transferred, 
in  the  sixteenth  century,  from  Ferrara  to  Modena. 

No.  17. 

Extracts  from  the  accounts  of  the  Confraternity  of  S.  GIOVANNI 
BATTISTA   BELLA    MORTE. 

Arch,  di  Stato  di  Siena,  Archivio  del  Patrimonio 
DEI  Resti  Ecclesiastici.  Compagnia  di  S.  Giovanni  Bat- 
tista  della  Morte,  Reg.  E.  III.  816,  fol.  84. 

Christo  1526. 

Uscita  di  me  Girolamo  di  Giovanni  delle  Seghe,  camar- 
lengo  di  detta  Compagnia  di  di  primo  di  Gienaio,  et  prima. 

A  di  1 1  di  detto  sol :  quatro  a  fachini  cioe  2,  portano  el 
cataletto  a  dipegnare  al  Sodoma     .     .     lire  .   .    ,  sol :  4. 

A  di  14  di  detto  lire  quatordici  sol:  dieci  in  uno  dopione 
d'  oro  dato  al  Sodoma  per  el  cataletto  me  li  presto  Pietro 
Paolo  Veri  non  oli  a  renovare     .  .     lire   14.   sol:   10. 

A  di  19  di  detto  lire  vintiuna  sol :  sette  per  3  porci  datti 
a  Giovaant"  detto  el  Sodoma  per  conto  del  Cataletto 

lire  21.  sol :   7. 


DOCUMENTS  299 

A  di  detto  lire  quatro  per  uno  staio  di  sale  s'ebe  dal 
monte,  come  e  a'ntrata  in'questo  a  detto  Sodoma 

lire  4.  sol :    . 

A  di  14  di  feraio  sol :  venticinque  a  Sodoma  in  uno  quin- 
terno  di  fogli  reali  et  uno  mezani  fini  a  lui  propio  d'  accordo 

lire  I.  sol :  5. 
A  di  15  di  detto  lire  sette  sol :  .  .  .  chontanti  a  Giovaant" 
detto  Sodoma  per  el  cataletto     .  .     lire  7.  sol :  .     . 

A  di  21  di  detto  sol :  vinti  dati  a  maestro  Lorenzo  di 
Guaspare  maestro  di  legname  per  resto  del  cataletto 

lire  1 .  sol :  .     . 


A  di  II  di  detto  (Marzo)  sol.  sette  chontanti  cioe  uno 
paio  di  tavole,  dado  al  Sodoma  d' accordo  lire    .     .  sol :  7. 

A  di  20  di  Marzo  lire  sette  chontanti  in  uno  schudo 
dato  a  Giovaant"  detto  Sodoma  ebi  da  Polito  ceraiolo  e 
sono  a  entrata    .....     lire  7.  sol :  .     . 

Christo  1527.     (f.  84*-85.) 

A  di  26  di  Marzo  lire  quatordici  chontanti  al  Sodoma 
cioe  per  lui  e  sua  chomixione,  a  Girolamo  di  Buoninsegna 
zedadaio,  disse  per  azuri  aveva  auto  da  lui 

lire  14.  sol :    .    . 


A  di  26  di  detto  (Aprile)  lire  quatro  sol :  in  una  soma 
di  vino  dato  al  Sodoma  ebe  per  mia  comexione  da  Ypolito 
ceraiolo  d'acordo  e  soma  entrata  in  questo 

lire  4.  sol :    .     . 

E  a  di  27  di  detto  una  altra  soma  di  vino  vermeglio  al 
sopra  detto  Sodoma,  da  Ypolito  per  nostra  comexione 
d'  acordo  e  sono  a  entrata    .  .  .     lire  4.  sol :    .     . 


300  APPENDIX 

Al  Sodoma  dipentore  a  di  29  d'  Aprile  sol.  cinquanta- 
cinque  de  Ypolito  ceraiolo  per  mia  comexione 

lire  2.  sol :  15. 

E  a  di  4  di  Maggio  lire  sette  in  uno  scudo  di  sole  al 
Sodoma  per  comexione  d' Alixandro  Umidi  operaro 

lire  7.  sol :    .    . 

E  a  di  18  di  maggio  lire  3  sol.  sedici  chontanti  al 
Sodoma  per  finire  la  soma  di  denari  13  cioe 

lire  3.  sol  :  16. 

E  a  di  25  di  detto  lire  tre  sol  :  dieci  chontanti  a  misser 
Giovaant"  detto  .  ....     lire  3.  sol  :  10. 

E  a  di  27  di  detto  lire  tre  sol :  dieci  chontanti  a  misser 
Giovaant°  detto  Sodoma  per  el  cataletto   lire  3.  sol :   10. 

E  a  di  14  di  detto  sol :  quarantanove  per  feri,  chiavarde 
e  bullatte  per  el  cataletto  per  comexione  di  Bartolomeo 
proveditore  disse         ....     lire  2.  sol :  9. 

Reg.  C.I. 

(On  loose  and  dilapidated  sheet  between  pp.  125  and 
126)  (Modern  numbering  804^). 

Misser  Giovannantonio  detto  el  Sodoma  de'  avere  a  di 
27  di  Maggio  lire  novantoto,  e  quali  sonno  per  dipintura 
del  cataletto  nuovo  che  lui  ci  dipense   .     lire  Ixxxxviii. 

No.  18. 

Extracts  from  the  Accounts  of  the  Confraternity  of  S.  Sebas- 

TIANO  IN  CaMOLLIA. 

Arch.,  detto.  Archivio  del  Patrimonio  Ecclesi- 
ASTICO.  Libro  (V  Entrata  e  Uscita  delta  detta  Compagnia  detto, 
Reg.  C.  I.  a.  c.  38*-     1525,  3  Maggio.     1531,  6  Novembre. 

Msere  {sic)  Giovantognio  cavaliere,  detto  el  Sodamo, 
dipentore  die  avere  a  di  3  di  Mago  {sic)  1525  duchatti 
vinti  di  lire  sette  per  ducatto  e  quelo  piu  che  vora  M° 
Antognio  di  .  .  .  barbiere  :  e  quali  ducati  vinti  s'  obrigha 
a  fare  il  ghonfalone  per  andare  a  procizione,  in  questo 


DOCUMENTS  301 

modo  :  da  un  lato  un  Sa'  Bastiano  leghato  a  uno  arbolo 
CO  quatro  che  lo  saettino  e  un  angiolo  che  lo  coroni ;  co 
e  paese  e  colori  fini  e  oro  sicondo  richiede,  a  gudizio  di 
buoni  maestri  e  da  1'  altro  latto  la  Nostra  Dona  col  suo 
figliolo  i'  colo  (in  collo)  e  San  Rocho  e  Sa'  Gismondo  con 
2  battenti  e  paesi  e  coloro  {sic)  fini,  sicondo  che  richiede ; 
con  suo'  drapeloni.  E  la  Conpagnia  ha  dare  el  panolino 
a  suo  modo,  e  ogni  altra  cosa  ci  a  metare  di  suo ;  e  deba 
esser  alto  bracca  quatro,  compresa  e  larcho  braca  tre  com- 
presa,  come  n'  apare  una  scrita  di  mano  di  Pierantognio 
Pacineli  e  testimoni  ...  el  quale  sa  obrigha  darcelo  la 
vigili  (sic)  di  el  Corpos  Domine. 

-  El  sopradetto  meser  Giovantognio,  detto  el  Sodoma,  fu 
finito  di  pagare  al  tempo  di  Matteo  Fraschini  nel  suo 
priorato  d'  ogni  suo  resto,  e  cosi  s'e  sotto  schrito  di  sua 
mano  nel  1532  ed  ebbe  per  resto  ducati  4  di  muneta. 

Christo  1 53 1  6  Novembre. 

Missere  Giovantonio  Chavaliere,  detto  Soddoma,  di- 
pentore,  die  avere  a  di  vj.  di  Novembre  ducati  vinti  di 
lire  sette  per  ducato,  quali  den  :  sonno  per  sua  fadigha  e 
manifattura  del  nostro  Ghonfalone  che  lui  ci  a  fatto  piu 
tenpo  fa,  chome  ve  n'  era  scritta  di  mano  di  Pier  Ant° 
Paccinelli  chon  piu  chapitoli  e  chonvenzioni  e  di  tutto 
questo  n'  aviamo  fatto  achordo  e  doviamoli  dare  quel  piu 
che  giudichara  M°  Anf  di  (Pasquino)  barbiere  chome 
di  tutto  quello  giudichara  metteremo  creditore  qui 
dabbasso         .......     lire  140. 

E  die  avere  addi  detto  ducati  sei  di  lire  sette  per  ducato 
quali  ducati  giudicha  M**  A°  barbiere  si  li  debbi  dare,  oltre 
a  li  scudi  xx.  di  sopra  perche  lui  n'  a  preso  parere  di  chosi 
lui  meritare,  chosi  siamo  rimasti  d'  achordo  questo  di 
detto  .........  lire  42. 

E  die  avere  a  di  detto  ducati  quatro  di  lire  sette  per 
ducato,  quali  ducati  si  li  fa  buoni  per  diliberazione  del 
chapitolo  che  lui  ci  a  servito  bene  e  diligientemente  del 
detto'  gonfalone  e  siamone  rimasti  d'  achordo  :  chosi  lui  si 


302  APPENDIX 

chiama  chontento  del  detto  credito  per  chonto  di  detto 
ghonfalone  e  piu  non  domandara ;  e  per  fede  del  vero 
detto  Maestro  Gionant°  si  sottoscrivara  di  chosi  essere 
chontento  ........  lire  28. 

lo  vi\vs>^  giovane  antonio  sopradetto  so'  contento  a  quanto 
di  sopra  si  contiene,  e  per  fede  6  schrito  de  mano  propria.^ 

Ckristo  1525.     (fo.  39.) 

Misere  Giovantognio  deto  Sodoma  dipetore  di  ricontra, 
de'  dare  a  di  3  di  Mago  lire  vintotto  sol :  dieci,  sono  i  due 
schudi  e  u'dopione  bologniese  d'  oro  ungharo,  lire  28  sol :  10, 
e  sono  a  sie  la'scita  so'scriti  di  sua  ma'  de  quali  ne  dete 
maestro  Antongnio  .  .  .  barbiere.unoschudoe  u'dopione 
e  una  schudo  6  dato  io  Bernardino  di  Pietro  Macini, 
oparaio  de  quali  de  la  conpagnia  e  sono  a  mia  uscitta  a  f.  33 
e  questo  maestro  Antongnio  el  dedisuo     lire  28.  sol:   10. 

%  ^  %  %  ^  %  ^ 

E  die  dare  a  di  20  di  gienaio  lire  quatordici  sol  o,  dati  a 
Bernardino  di  Pietro  Macini  che  li  dese  al  detto  misere 
Giovianatognio  per  parte  di  detto  gonfalone  e  sono  a  mia 
escita  di  me  Domenicho  di  Simone,  camarlengo  a  f.     .    . 

lire  14.  sol  :    .    . 

E  a  dl  25  di  Marzo  1526  lire  sette  sol :  .  .  contanti  a 
maestro  Antonio  Barbieri  uno  de  li  oparai,  dise  per  dare  a 
maestro  Giovanant°  dipentore  per  conto  deso  gonfalone, 
sono  a  me  Camarlengo  Gerolamo  di  M°  Mariano  a  mio 
conto  affo :  37.    .  .  .         .  .     lire  7.  sol :     .     . 

Ckristo  1 53 1,     (fo.  51') 

Missere  Giovant"  chavaliere  alias  Sodoma  alinchontra 
die  dare  addi  vj  di  novembre  ducati  quindici  di  1.  7. 
per  ducato  quali  denari  ha  hauti  ni  piu  volte  de  la  chon- 
pagnia,  chome  di  tutto  ce  ne  una  scritta  di  mano  di  detto 
missere  Giovanant",  quale  anulliamo  per  essare  messi 
detti  denari  qui lire  105.  sol :    .    . 

J  These  receipts  are  in  Bazzi's  autograph. 


DOCUMENTS  303 

E  die  dare  addi  detto,  ducati  quattro  di  1.  7  per  ducato, 
quali  denari  ce  li  fa  buoni  per  Quiricho,  detto  Piccino 
bechaio,  per  charne  auta  da  lui  piu  tempo  fa,  e  so'a  Qui- 
richo, che  debbi  aver  in  questoafo  :   .  .     lire  28,  sol :    .  . 

E  die  dare  a  di  detto  lire  vintotto  sol :  .  .  chontanti  al 
sopradetto  misser  Giovantonio,  quali  denari  glie  li  chonto 
Chornelio  di  Giovanni  camarlengo,  allui  in  questo,  a 
fo.  66  .         .         .         .         .         .     lire  28,  sol  :     .  . 

E  io  miser  Giovane  Antonio  o  receuto  li  sopra  deti 
denari,  come  di  sopra. ^ 

E  pagato  in  tutto  no  se  ne  parlli  piu. 

No.  19. 

The  Affidavits  of  "GIOVANNI  ANTONIO  DiPENTORE "  and 
Giovanni  di  Lorenzo  appended  to  a  petition  made  by 
DOMENICO   BECCAFUMI. 

Arch.  Not.  Prov.  Siena.      Rogiti  di  Ser  Girolamo 
Ottaviani.     Filza  degli  Atti  della  Mercanzia. 

1527.     \  di  Settembre  {Dicembre  ?) 

Extract. 

•*  Io  Miser  Giovane  Antonio  depentore  e  omo  e  albitro 
chiamato  dali  Signori  Oficiali  Quatro  de  Bicerna  a  stimare 
e  vedere  e  lavori  fati  da  Domenico  dipentore  a  miser 
Francesco  Petrucci,  li  quali  insieme  con  Giovanidi Lorenzo 
dipentore  omo  de  deto  maestro  Domenico  ;  li  quali  veduti 
stimamo  doverseni  meritare  ducati  cento  setanta  cinque 
cioe  due  :  1 75  e  per  fede  o  fato  questo  de  mia  propria  mano 
questo  di  quatro  di  settembre  1527." 

The  following  version  of  the  above  is  given  to  illustrate 
the  photograph  of  the  artist's  handwriting  in  La  Scrittura 
di  Artisti  Italiani  (edited  by  Carlo  Pini,  with  notes  and 
explanations  by  G.  Milanesi,  vol.  ii.  p.  1 40 :  Firenze,  1876). 

"  Io  Miser  Giovane  Antonio  depentore  e  omo  e  albitro 
chiamato  dali  Signior  oficiali  quatro  de  bicerna  a  stimare  e 
vedere  e  lavori  fati  da  domenico  depentore  a  miser  fran- 
cesco  petruci :    li   quali   insieme  con  giovani  di  lorenzo 


304  APPENDIX 

dipentore  omo  de  deto  maestro  domenico  :  li  quali  veduti, 
stimiamo  doverseni  meritare  ducati  cento  setanta  cinque, 
cioe  ducati  175,  e  per  fede  o  fato  questode  mia  propia 
mano,  qesto  di  quatro  di  disenbre  1527.^ 

"  lo  giovanni  di  lorenzo  dipentore  sopradetto  fo  fede 
chome  odinanzi  ali  S.  offitiali  quatro  di  bicerna  demo  el 
nostro  lodo  sopra  e  lavori  fatti  da  maestro  domenicho 
sopradetto  a  ditto  misser  Francesco  petrucci ;  li  quali 
stimamo  ducati  cento  settantacinque.  Cioe  ducati  clxxv 
de  lire  7  per  ciaschuno,  a  tutte  spese  di  maestro  domenico 
sopradetto  e  questo  facemo  al  tenpo  di  iacomo  borghesi 
priore  di  detti  offitiali ;  e  per  tan  to  6  fatto  questa  di  mia 
mano,  questo  di  detto." 

Of  this  picture  by  Beccafumi  for  Francesco  Petrucci 
nothing  further  can  be  found.  Nor  do  we  know  exactly 
where  the  Petrucci  residence  was.  Perhaps  it  was  the 
palace  once  belonging  to  the  Agostini  family  and  now  to 
the  Bindi-Sergardi.  This  palace  is  believed  to  have  once 
belonged  to  a  branch  of  the  Petrucci. 

No.  20. 

Statement  of  property  removed  from,  the  studio  of  "  MesSER 
Giovanni  Antonio  detto  el  Sodoma"  dy  Girolamo 
Francesco  Magagni. 

Arch.  Not.  Prov.  Siena.    Processi del  \<^2<^. 

20  di  Luglio. 

Anno  Domini  1529.     Indictione  II.  die  vero  xx.  Julii. 

Girolamo  di  Francesco  barbiere  constituito,  etc.  dixe, 
che  de  comessione  di  Messer  Giovanni  Antonio  decto  el 
Sodoma  dipentore,  del  presente  mese  in  diversi  giorni  et 
volte  insieme  con  Gianni  Scricciolo  figluolo  del  Palachino 
da  Vulterra  e  intrato  e  stato  in  casa  di  decto  Soddoma,  et 
di  casa  di  decto  et  de  la  camara  de  la  quale  esso  Giomo 

1  It  should  be  noted  that  Sig.  Milanesi  in  his  Documenti  has  appa- 
rently mistaken  the  month,  and  since  the  original  document  has 
unaccountably  disappeared,  there  is  no  means  of  verification  but  by  the 
photograph. 


DOCUMENTS  305 

dixe  havere  havuto  la  chiave,  et  elsi  (sic)  le  chiavi  de' 
gofifani  del  prefato  chavaliere,  amalato  in  Firenze  in 
S.  Maria  Ntwva  al  42°  lecto ;  et  di  esse  ne  ha  tratte 
le  infrascritte  robbe,  e  quelle  ha  asportate  di  giorno  in 
casa  sua  parte,  et  parte  in  casa  del  suo  cognato,  etc. 

Imprima  le  cose  portate  in  casa  di  esso  Girolamo. 

Uno  Appolline  di  bronzo  di  gitto. 

Tre  scatole  longhe  piene  di  bronzi  tragittati  in  diverse 
figure  et  animali. 

Una  cassettina  piena  di  lavori  di  bosso,  et  altri  legnami 
facti  al  torno. 

Una  scatola  piena  di  medaglie  di  bronzo  in  cassettini 
al  torno. 

Uno  gruppo  di  carte  dentrovi  piu  medaglie  di  bronzo. 

Uno  cassettino  a  guisadi  bossoletto,  pieno  fra  medaglie 
di  argento  di  piu  sorte,  una  granocchina  di  litropia  et 
una  fava  d'  I  ndia ;  et  altre  cose  de  la  quali  dixe  non 
ricordarsi. 

Una  tegolacon  impressioni  di  due  animali  senza  gambe, 
di  terra. 

Uno  pie  di  femina  intero,  di  marmo. 

Un  mezo  pie  di  femina  intero,  dove  sonno  le  dita. 

Una  testuccia  di  vechio  senza  naso,  di  marmo. 

Una  testa  di  Hone  ch'a  manco  una  mascella. 

Una  testa  col  busto  di  donna  sanza  naso,  di  marmo. 

Una  testa  di  gesso  di  donna. 

Una  scatola  con  uno  nichio  di  matreperla. 

Uno  corpo  di  marmo  senza  braccia  et  gambe. 

Uno  corpo  di  cera  con  le  coscie  senza  altri  membri. 

Uno  pezo  di  marmo  drentovi  un  mezo  angelo  con  una 
maza  in  mano. 

Una  testa  di  puttino  di  terra  in  profilo. 

Uno  pie  di  marmo  rial  to  che  si  posa  con  la  puncta  de 
le  dita. 

Un  altro  pie  di  marmo,  qual  posa  tucto. 

Due  pezzi  di  vasi  di  terra  cotta  uno,  et  uno  di  gesso 
formati  a  I'antiquo. 

20 


3o6  APPENDIX 

Due  macinelli  da  macinare  colori  di  porfido. 

Due  saccucce  da  pelle  di  balestro,  dentrovi  delle 
sopradette  scatole. 

Uno  scatolone  con  uno  Hbro  stampato,  et  uno  libro 
scripto  a  mano  eke  tracta  di  pictura, 

Uno  libro  di  nigromatia  con  piu  lettere  et  scripture, 
tucte  drento  in  decto  scatolone. 

Una  scatola  con  piu  sorte  di  colori,  et  con  uno  cavallo  di 
bronzo. 

Uno  puttino  di  piombo. 

Uno  ignudo  di  terra  cotta  senza  testa  antiquo  con  una 
coscia  sola. 

Quali  tucte  robbe  com  piu  altre  figure,  et  altre  cose  da 
pictori  noscose  in  uno  chiasseto  da  tenere  polli  ft'a  esso  la 
casa  sua  et  Tommaso  del  Vaia  coperti  con  rochioni. 

Una  tegola  di  terra  antiqua  drentovi  uno  mercole  con 
uno  toro  et  una  donna  con  polli  in  uno  bastone,  quale  dixe 
haverla  portata  in  casa  di  Madonna  (Beatrice)  donna  di 
decto  chavalliere  in  Vallerozi, 

Le  infrascritte  robbe  sonno  in  casa  di  Niccolo  spadaio 
suo  cognato. 

Una  carpita  nuova. 

Una  spera  di  quadro  col  telaio. 

Uno  quadro  di  braccio  incirca  con  una  Nostra  Donna  con 
el  figliuolo  in  collo  che  sposa  Santa  Caterina,  con  uno  Santo 
Hieronimo  non  finito. 

Una  testa  di  Santo  Giovanni  in  uno  quadro  di  legno. 

Una  coperta  di  sclamito,  azurro,  et  giallo,  quale  dixe 
haverla  impegnata  al  iudeo  sold  :   2 1  in  nome  suo. 

lo  miser  Giovane  Antonio  6  riceuto  questo  di  sei  de 
Agosto  1529  le  sopra  dete  chose. 

Item  dixe  havere  in  casa  sua  una  spada  fornita  d'  argento 
et  uno  pugnale. 

Item  dixe  havere  in  casa  di  decto  cavaliere  piu  disegni 
e  ritratti  in  una  cassetta  de  la  quale  esso  Girolamo  ha  la 
chiave. 

Una  balestra  da  pallozole  di  acciaio  fornita  di  osso. 


DOCUMENTS  307 

Note, — In  March — April  1903  the  author  made  a  most  elaborate 
search  for  this  document,  for  the  above  quoted  Supplica  of  Beccafumi, 
and  for  Riccio's  Will  (a  reference  to  which  is  given  in  Milanesi's 
MS.  Notes),  but  with  no  result.  It  is  suggested  that  they  either  have 
disappeared  in  the  various  vicissitudes  that  since  Milanesi's  day  have 
occurred  to  the  Sienese  Archives,  or, — as  was  formerly  permitted, — 
been  borrowed  by  some  student  for  private  examination,  and  either 
never  restored,  or  returned  to  some  place  in  which  they  are  now  hidden, 
and  may  lie  for  years  yet  to  come.  For  the  present,  however,  further 
search  is  fruitless. 

No.  21. 

Entries  of  payments^  etc.,  in  various  registers  of  the  Commune 
of  Siena  as  to  the  work  executed  by  GIOVANNI  ANTONIO 
Bazzi  in  the  Sala  del  Mappafnondo  in  the  Palazzo  Pubblico. 

[The  student  will  observe  that  these  notices,  being 
taken  from  different  official  registers,  should  be  read 
contemporaneously.  The  Deliberazioni  indeed  appear 
to  have  been  kept  in  a  quasi-duplicate  form.  Some  of 
the  entries  have  been  already  extracted  and  published  ; 
whilst  others  are  here  printed  for  the  first  time.] 

Arch.  DI  Stato  Siena.    Concistoro  Deliberazioni  ad  annum. 

1529. 

Die  xij  septembris. 

Ill""  D.  D.  Priores,  Capitaneus  populi  etc.  convocati 
etc.  Simili  modo  mandaverunt  solvi  per  Camerarium 
Consistorii  Domino.  lo  Antonio  Sobdoma  lib.  42  den. 
pro  parte  eius  salarii  picture  Sancti  Victorii  in  sala  de  le 
balestre. 

Die  xxj  septembris,  Martis. 

Et  Audito  Domino  lo.  Antonio  alias  Sobdoma  pictore 
petente  sibi  satis  fieri  salarium  pro  pictura  Sancti  Victorii 
per  eum  facta,  servatis  etc.  voluerunt  eidem  solvi  quicquid 
per  duos  pictores,  eligendos  unum  per  Consistorium  et 
alterum  per  eum,  judicatum  fuerit ;  de  quo  detrahatur  id 
quod  huiusque  sibi  solutum  est.  Et  statim  eligit  Con- 
sistorium per  plures  voces.  Magistrum  Dominicum  .  .  . 
alias  Mecuccium. 


3o8  APPENDIX 

Die  26  septembris,  So  lis. 

Et  visa  extimatione  data  per  Magistrum  Mecuccium  et 
magistrum  Davit  pictores  supra  pictura  Sancti  Victorii 
ac  suis  ornamentis  factis  per  Sobdomam  quia  nimis 
excedere  iudicis  eorum  honestum  pretium  visa  est  eis 
servatis  etc.,  voluerunt  per  Magnificum  Priorem  et 
Capitaneum  populi  intelligi  et  informationem  haberi  a 
magistro  Baldassarre  architectore  et  pictore  de  valore  et 
extimatione  eiusdem.  Et  casu  quo  in  parva  quantitate 
discrepet  extimationem  ipsius  a  predictis,  solvatur  dicto 
Sobdome  iuxta  extimationem  prefatorum  2  pictorum,  que 
est  ducata  27  auri,  si  autem  in  magna,  nova  provisio  fiat. 

Die  prima  octubris,  Veneris. 

Ill"',  ac  Ex^'.  domini  domini  Priores  etc.  et  Capitaneus 
populi  etc.  convocati  etc.  mandaverunt  solvi  domino 
lo  Antonio  Sobdome  pictori  lib.  50  den.  pro  parte  eius 
salarij  pro  pictura  sancti  Victorii  ad  bonum  computum  et 
decretum  fieri  Camerario  Consistorii. 

Die  viiij  octubris. 

Mandaverunt  etiam  solvi  Domino  lo.  Antonio  alias 
Sobdome  pictori  lib.  septuaginta  den.  sen.  pro  parte  eius 
salarij  picture  Sancti  Victorij  ad  bonum  computum  et  fiat 
decretum  Camerario  Consistorii,  et  actento  quod  non 
habet  in  presentiarum  denarius  Magnificus  Lapus  solvat 
et  in  cautionem  suam  detur  ei  collana  argentea  Capitanei 
Cuicii  etc. 

Die  xxvij  octubris,  Mercurij. 

Ill™\  ac  Ex^'.  domini  domini  Priores  et  Capitaneus 
populi  etc.  convocati  mandaverunt  solvi  domino  lo. 
Antonio  Sobdome  lib.  sexaginta  octo  den.  pro  omni  reslduo 
ducata  27  auri  solis,  eius  salario  picture  Sancti  Victorii 
in  sala  de  le  balestre,  et  decreverunt,  etc.^ 

^  Cf.  Nuovi  Documenti  cit.,  p.  446,  No.  222. 


DOCUMENTS 


309 


Arch.  DI  Stato.     Scritture  Concistoriali,  Filza  41.     Notula  at 
successori  della  Signoria  del  1529. 

30  Agosto    1529. 

Item  si  sonno  condennati  li  infrascritti  beccarii  per  loro 
trasgressioni  ne  le  sottoscrisste  pene  sara  bene  di  risquo- 
tarle,  le  quali  sonno  attribuite  a  la  pictura  de  la  sala  de  le 
balestre,cavatone  la  parte  nepervenisse  alHQuattro  Maestri 
del  Sale. 

Li  nomi  de'  quali  sono  questi,  cioe 

Arcangiolo  detto  il  Manzo  . 
Baldassare  detto  il  Guercio 
,,  ,,      il  Belloso . 

Bernardino  detto  el  Possa  . 
Carlo.  .... 
Pietro  Serumtino 

31  Agosto  1529. 

Item  si  e  dato  principio  nella  Sala  delle  Balestre  fa 
dipingere  due  belle  figure  cioe  una  die  Sancto  Vectorio,  e 
r  altra  di  Sancto  Ansano  per  le  mani  del  Sodoma,  e  per  tale 
opera  si  li  e  dato  gia  scudi  nove,  cioe  lire  sesantatre.  Sara 
bene  mandarla  a  fine.^ 

2  Settembre  1529. 

Che  sieno  citati  li  infrascritti  macellari  et  comparsi, 
subito  se  li  facci  precepto,  che  non  partino  di  palazo  se  non 
pagate  per  loro  le  condannagioni  facte  per  li  precessori 
come  di  sotto,  cioe  : — 

Arcangiolo  detto  Manzo      .         .         .     lire    8. 


: — 

lire    8. 

„  40- 

,.  40- 

„  40- 

M       40. 

„  40. 

Baldassare 

Bernardino 

Carlo . 

Pietro  Serumtino 


Guercio 
il  Belloso 
el  Possa 


40. 
40. 
40. 
40. 
40. 


^ilanesi,  Documenti  cit.,  torn.  iii.  p.  185 


3IO  APPENDIX 

Belloso  et  Pietro  conparendo  furo  liberati  promettendo 
r  uno  per  1'  altro  di  presentarsi  lunedi  o  pagare  testimoni 
Pamiale  et  Jacomo  donzelli. 

21  Settembre. 

Che'l  Consistoro  chiami  uno  pictore  et  uno  altro  il 
Sobdoma  che  stimino  la  pictura  di  Sancto  Victorio  facta 
per  decto  Sodoma  et  tanto  se  H  dia  et  quello  da  chiamarsi 
per  il  Consistorio  faccisi  per  le  piu  voci. 

Maestro  MecarinoI  p. 
Maestro  Bartolomeo  di  David  |     ^^  ^^^' 

Valuation   made   by   DOMENICO   DI    Pace   (Beccafumi)    and 
Bartolommeo  di  David,  of  the  fresco  of  S.    Victor. 

In  Dei  nomine  questo  dl  it,  di  Settembre,  1529. 

Noi  Domenicho  di  Pacie  et  Bartolomeo  di  Davit,  dipen- 
tori,  omini  elletti  aiudichare  una  opera  fatta  per  Misser 
Giovanni  Ant"  dipentore  i'nel  Palazzo  della  magnificha 
Signoria,  cioe  uno  Santo  Vittorio  dipento  a  chapo  la  porta 
i  ne  la  Sala  del  Mapa-Mondo  chol  suo  ornamento  intorno 
aquello  fatto  :  Per  la  qual  chosa  io  Domenicho  sopradetto 
per  li  Magnifici  Signori  eletto,  e  per  el  sopradetto  misser 
Giovanni  Antonio,  Bartolomeo  di  Davitti  sopradetto,  in- 
sieme  ristetti  i^sic) ;  avendo  ben  chonsiderato  dicta  opera, 
gudichiamo  {sic)  di  quella  meritarsi  schudi  vinti  sete 
d'  oro  larghi.  E  per  fede  io  Domenicho  sopradetto  offatta 
questa  di  mia  mano  :  el  qual  Bartolommeo  di  Davitti  sotto- 
scrivarra,  afifermando.  Intendendosi  ditto  prezo  essere 
pachamento  di  detta  opera  a  tutte  spese  di  detto  Misser 
Giovant",  cioe  d'  oro  cholori  aricimento  (arricciamento), 
scialbo  e  calcina  e  ponti  ec. 

E  io  Bartolome  de  Davitti  sopradetto  afermo  a  quanto 
di  sopra  si  chontiene.^ 

J  Cf.  Milanesi,  Documenti,  cit.,  torn.  iii.  p,  112.     No.  57. 


DOCUMENTS  311 

26  Settentbre. 

Che'l  magnifico  Priore  et  magnifico  Capitano  mandino 
per  maestro  Baldassarre  architettore,  al  quale  faccino 
stimare  la  figura  del  Sobdoma  di  Sancto  Victorio,  facta  in 
la  sala  de  le  balestre  et  discrepando  pocho  de  la  sua  extima 
et  quella  de  li  2  altri  pictori  se  li  dia  quelle  tanto  che  el 
detti  2  hanno  facto  caso  che  assai  si  pigli  nuovo  partito. 

30  Settembre. 

Illustrissimi,  etc.,  excelsi  Domini  Domini  Priores  et 
Capitaneus  populi  ecc.  convocati  ecc.  Soddome  audito 
detur  et  solvatur  ei  usque  ad  summam  librarum  50 
denariorum  per  Camerarium  Consistori  predicti. 

Die  prima  Octubris. 

Sobdome  solvantur  usque  ad  summam  librarum  50 
denariorium. 

28  Febbraio  1529. 

Essi  pagato  per  el  Camarlengo  nostro  al  cavaliere 
Soddoma,  scudi  sei  d'  oro  larghi  oltra  di  denari  havuti  da 
precessori,  come  a  uscita  di  esso  Camarlengo  in  f :  43,  quali 
se  li  son  dati  a  buon  conto  per  la  pictura  di  Santo  Sano  che 
anco  non  e  finito.^ 

Si  ha  da  seguire  la  pictura  di  Santo  Bernardo  per  la  quale 
ha  havuto  gia  denaro  come  di  tutto  ne  e'  informato  lo 
oparaio  del  duomo.^ 

1532. 

II  Sogdoma  dipentore  ha  hauti  certi  denari  per  dipegnare 
nella  Sala  del  nappamondo  un  san  Bernardo  chome  di 
tutto  e  informato  al  magnifico  operario  del  duomo  et  di  gia 
chome  si  vede  e  principiato  lornamento,  sera  bene  procurare 
si  finischa. 

*  In  the  margin,  Sogdoma  pictori. 

^  Jn  the  margin,  Pictura  di  San  Bernardo, 


312  APPENDIX 

(On  the  next  page.) 

Misser  Gio.  Battista  (sic)  dicto  il  Soddoma  ha  hauti  certi 
denari  per  dipegniare  nela  Sala  del  nappamondo  uno  sancto 
Bernardo  come  di  tutto  e  informato  il  magnifico  operaro 
del  duomo,  sara  bene  sollecitare  si  facci  dicta  pittura.^ 

Filza^i.  1533-34- 
Ultimamente  per  havere  ancora  noi  procurato  che  la 
pittura  del  beato  Bernardo  ne  la  Sala  dele  nappamondo 
fusse  finita  dal  Soddoma  dipentore  de  la  quale  ne  ha  gia 
hauto  scudi  otto  si  come  da  precessori  nostri  ne  era  stato 
lassato  in  notula  et  havendo  esso  Soddoma  a  essere  satis- 
fatto  del  restante  di  detta  opera  quale  ne  ha  condotta  a 
perfettione,  piacera  a  V.S.  magnifiche  fare  che  detto 
Soddoma  ha  fatto  satisfare  de  la  lodevole  opera  da  missere 
Francesco  Tholomei,  dignissimo  operaio  de  la  Chiesa 
Cathedrale,  si  come  esso  a  noi  et  al  detto  Soddoma  ne  ha 
largamente  promesso,  il  che  facendo  V.S.  Magnifiche  ne 
escitaranno  a  imprese  maggiori  di  simili  ornamenti.^ 

Concistoro  Deliberazioni.     Vol.  978. 

1529. 

Die  xii.  Septembris.  fol.  6'' 

Simili  modo  mandaverunt  solvi  domini  Joanni  Antonio 
cognomine  Sobdoma  pictori  libras  quatraginta  duos  de- 
nariorum  videlicet  libra  42  pro  parte  salarii  figure  et 
picture  Sancti  Victorii  in  Sala  de  le  Balestre,  etc.^ 

Die  xxi.  Septembris.  fol.  13. 

Audito  etc.  domino  Johanne  Antonio  alias  Sobdoma 
pictore  petente  sibi  satisfieri  salarium  pro  pictura  Sancti 
Victorii   per  eum   confecta  servatis  etc  voluerunt  eidem 

^  In  the  margin,  Soddoma. 

2  Cf.  Milanesi,  Documenti  cit.,  torn.  cit.  p.  185. 

'  In  the  margin  of  each  of  these,  "  Soddoma.^' 


DOCUMENTS  313 

solvi  quicquid  per  duos  pictores  fuerit  extimatam,  quorum 
unus  pro  Consistoro  eligatur  alter  ab  ipso  et  statim 
eligerunt. 

Mecucium     .     .     .     pictorem.^ 

Die  26  Septembris.  fol.  15. 

Et  visa  et  audita  extimatione  data  per  2  pictores  electos 
unum  pro  parte  Consistori  alterum  pro  parte  Sobdome 
infrascriptos  super  valorem  picture  Sancti  Victorii  cum 
suis  ornamentis  factis  per  prefatum  Sobdomam,  que  visa 
est  eis  excedere  nimis  honestum  pretium  servatis  etc.  in 
bene  esse  palatii  et  etiam  justitie  satisfactum  declarave- 
runt  commictere  Priori  et  Capitaneo  magnifici  qualiter 
informati  accipiant  a  magistro  Baldassarre  architeptore  et 
pictore  de  pretio  et  valore  ipsius  picture  et  referant  decla- 
rando  quod  casus  quod  extimatio  dicti  2  et  prefati  magistri 
Baldassaris  parum  dififerant  solvatur  dicte  Sobdome  iuxta 
extimationem  dicti  2  sin  satis  denuo  provideatur  omni 
modo  etc.^ 

Die  prima  octobris,  fol.  18. 

Illustrissimi  et  Excelsi  Domini  Domini  Priores  etc.  et 
Capitaneus  populi  etc.,  convocati  etc.  mandaverunt  solvi 
domino  Joanni  Antonio  alias  Sobdome  pictori  libras 
quinquaginta  denariorum  pro  parte  ejus  salarii  picture 
Sancti  Victorii  ad  bonum  compotum  et  decretum  etc.^ 

Die  viiij.  octubris,  fol.  21. 

Jusserunt  etiam  solvi  domino  Joanni  Antonio  Sobdome 
pictori  libras  70  denariorum  pro  parte  salarii  picture  Sancti 
Victori  ad  bonum  compotum  omni  modo  etc.^ 

Die  xxvii.  octubris,  fol.  28. 

Illustrissimi  etc.  excelsi  Domini  Domini  Priores  guber- 
natores  et  Capitaneus  populi  etc.  convocati  etc.  mandave- 
runt solvi  domino  Joanni  Antonio  alias  Sobdome  pictori 

^  In  the  margin  of  each  of  these,  "  Soddoma*' 


314  APPENDIX 

libras  sexaginta  octo  denariorum  per  omni  residue  scuto- 
rum  27  auri  solis,  salarii  ipsius,  pro  pictura  Sancti  Victorii 
cum  suis  ornamentis  in  Sala  de  le  balestre  quo  extimatum 
fuit  et  decretum  etc/ 

No.  22. 

Extract  from  Gio,  Battista  Armenini  di  Faenza.  Dei  VerI 
Precetti  DELLA  Pittura.  Ravenna :  Francesco  Tebaldini, 
1587,  p.  27. 

.  .  .  ragionevole  e  meraviglioso  .  .  .  fu  1'  accidente 
ed  il  valore  insieme  di  Giovan'  Antonio  da  Vercelli  Pittor 
pratico,  et  molto  ingegnoso  il  quale  fu  per  cio  fatto  cavaliere 
honorato  dalla  felice  memoria  di  Papa  Leon  decimo.  Costui 
in  Siena  dimorandosi,  come  in  sua  patria  incontrandosi  un 
giorno  in  uno  insolente  soldato  Spagnuolo  ;  che  era  della 
guardia  della  Citta,  perche  molto  numero  di  quella  gente 
vi  dimorava  tuttavia  in  quel  tempo,  egli  fu  dal  detto  soldato 
fortemente,  e  villanescamente  oltraggiato,  del  quale  egli 
non  sapendo  il  nome,  ne  meno  potendo  accostarseli  per  la 
loro  gran  turba,  a  vendicarsi,  et  perche  egli  era  possente,  et 
di  gran  core,  si  stava  ivi  con  animo  di  risponderli  tosto, 
perche  egli  si  era  al  tutto  disposto  per  nessun  modo 
voler  patire  che  la  ingiuria  ricevuta  si  dovesse  lasciare 
impunita  con  poco  honor  suo,  considerate  adunque  piu 
vie,  alfin  si  risolse  dover  cio  fare  col  mezo  di  quella 
virtu,  con  la  quale  egli  era  miglior  maestro,  e  piu  sicuro, 
e  per  cio  egli  messosi  di  apiatto,  incomincio  minutamente 
a  riguardare,  et  a  considerare  tutto  quello,  ch'  era  in 
quella  effigie  di  quel  Spagnuolo,  e  tanto  fe  che  per  tal 
via  li  rimase  impresso  nella  idea  1'  istesso  naturala  di  quel 
volto.  Dopoi  itosone  tacitamente  a  casa  si  dispose  di  farlo, 
onde  si  mise  sopra  un  suo  picciol  quadretto,  che  vi  era 
rimaso,  con  pennelli,  et  colori,  con  molto  affetto  a  formarlo, 
si  che  in  breve  spatio  ogni  minuta  tinta  del  natural  di 
quella  faccia,  con  le  sue  linee,  li  parve,  che  gli  riuscisse 
tanto  bene,  che  egli  si  rimase  cosi  contento  senza  farli  altra 
1  In  the  margin  of  each  of  these  *^Soddomq'' 


DOCUMENTS  315 

fatica  intorno  :  onde  per  non  voler  perder  tempo  a  con- 
seguire  il  suo  desiderio,  si  mise  quel  ritratto  sotto  la  cappa, 
e  senza  fa  motto  k  nessuno,  egli  solo  se  ne  ando  la  dove 
habitava  il  Prencipe  di  quei  Spagnuoli,  e  trovatolo  gli 
espose  al  meglio  che  seppe  il  tutto,  dolendosi  seco 
forte  deir  ingiurie,  ch'  egli  havea  ricevute  dalle  Spagnuolo 
predetto,  al  quale  il  Prencipe  rispose  benignamente,  che  per 
esservene  molti,  egli  cercasse  di  farglielo  conoscere,  che 
esso  acerbamente  lo  punirebbe,  et  egli  allhora  aperto  un 
lembo  della  cappa,  e  scoperto  il  ritratto  glie  lo  present© 
in  mano,  e  disseli,  Signore,  cosl  e  la  sua  faccia,  io  non  vi 
posso  di  lui  mostrar  piia  oltre.  II  Prencipe  allhora  pigliato 
quello  con  maraviglia,  di  subito  gli  venne  in  mente  chi 
egli  era,  di  modo  ch'  egli  fu  conosciuto  e  da  lui,  e  da  tutti 
quelli,  ch'  egli  havea  intorno  senza  pensarvi  punto,  e  per 
cio  fatto  pigliar  quel  reo  egli  volse  che  fusse  castigato 
con  quelle  pene  che  piu  piacesse  a  quel  valenthuomo  : 
laonde  vendicatosi  per  tal  via,  li  venne  poi  questa  cosa  a 
esserli  giovevole,  perche  li  fu  cagione,  ch'  egli  divenisse 
strettissimo  amico  di  quel  Signore,  e  di  altri  Gentilhuomini, 
da'  quali  ne  ricevesse  aiuto  et  favori  et  fosse  da  essi 
sempre  stimato,  et  ammirato  per  huomo  d'  un'  ingegno 
mirabile.  Questo  cosi  ingegnoso  tratto,  mi  fu  narrato  in 
Siena,  quand'  io  giovanetto  vi  dimorai  qualche  tempo, 
da  un  vecchio,  che  diceva  di  questo  eccellente  huomo 
esser  stato  strettissimo  amico,  da!  quale  io  volentieri  era 
menato  per  Siena  a  veder  tutte  le  cose  notabili  che  vi 
erano  dentro. 

No.  23. 

Documents   regarding  the   Porta  San    Viene  (Pispini)  and  the 
fresco  painted  there  by  GlONKl^l!il  ANTONIO  Bazzi. 

Arch,  di  Stato  di  Siena.    Balia  Deliberazioni. 

Vol.  78,  fol.  85'-     Die  xii.  Septembris  (1528). 

Et  quoniam  pro  honore  eorum  civitatis  provisum  et 
deliberatum  est  cjuod  ad  portam  Sancti  Vieni  pingi  debeat 


3i6  APPENDIX 

figura  intemerate  matris  et  quoniam  murus  suptilis  est 
ingrossari  debet  servatis  servandis  deliberaverunt  quod 
pro  dicto  muro  ingrossando  illi  cives  super  negoziis  depu- 
tati  teneantur  et  debeant  concedere  muratoribus  calcem 
lastras  pro  predictum  faciendum,  ponant  ad  compimentum 
ad  e  pensas  magnifici  Comunis  Senarum,  comiserunt  frueri 
decima  oportuna  in  quantum  expedit.^ 

Vol.  84.  fol.  131.     Martis  Die  xn./unu  (i^2)^)- 

Auditis  operariis  picture  porte  sancti  Vieni  super  de- 
fectu  pecunie  pro  finimento  dicte  picture,  deliberaverunt 
quod  duo  eligendi  videant  denarios  qui  deposito  sunt  apud 
Biringuccios  pro  Domino  Camillie  porte  et  cum  quo  in 
procintu  non  debeant  pro  ea  expendi  habeant  auctoritate 
solvere  eos  faciendi  dictis  operariis  Sancti  Vieni,  habeant 
etiam  auctoritate  inveniendi  usque  ad  summam  ducatorum 
30  pro  residuo  dicte  picture  et  circa  hoc  rifereant  et  fiant 
in  proprio  casu  opportune  scripture  etc. 

[deliberaverunt  fieri  decretum 
dictis  Biringucciis  quod  sol- 
vant  dictis  operariis  libras  218 
sol.  28  et  at  fuit  factum  decre- 
tum prout  in  registro  apotixa- 


fuerunt  electi 
Hieronimus  Spannocchius 


rum.^ 


Vol.  87.  fol.  122.     Die  tertia  aprilis  (1532). 

AuditoinsuperspectatissimoviroHieronimoserJohannis 
de  Paccinellis  servatis  etc.  voluerunt  quod  dicto  Jeronimo 
solvantur  scuti  viginti  auri  et  libr  :  2  sol  :  2  republica  di 
quibus  solvat  Sobdome  pictori  scutos  10  pro  premio,  augu- 
mento  seu  donativo  ultra  salarium  ordinatum  pro  opere  et 
pictura  janue  Sancti  Eugenii  nuper  conpletis  et  residuum 
sit  suum  et  pro  se  retineat  pro  totidem  quos  rogavit  de 
proprio  in  reaptandum  locum  supra  dictum  opus  in  amo 
vendo  cursum  aque   que  devastabat  dictas  picturas    et 

^  In  the  margin  of  both  these,  "  Madonna  delta  Porta  S"  Viene" 


DOCUMENTS  317 

faciendum  calcestruzium  et  duo  de  Collegio  a  Priore 
eligantur  provideant  dicti  duo  in  plena  auctoritate  salvis 
fidibus  undecumque  etc.  solvi  facient  etc.  omni  modo  etc.^ 

Vol.  91,  fol.  I49'',  150.     Die  xxiii.  Junii  1534. 

Magnifici  Domini  Officiales  Balie  etc.  convocati  etc. 

Et  auditis  pluribus  deputatis  a  congregatione  contrate 
Abbatie  Nove  civitatis  et  eorum  petitione,  verbo  et  in 
scriptis  tenoris  infrascripti,  volentes  quod  honori  et  decori 
Civitatis  consuleter  aliisque  justis  causis  moti,  servatis  etc. 
dictam  infra  notatam  petitionem  approbaverunt  in  omnibus 
ut  iacet  et  ita  dicta  congregation  i  dari  et  concedi  voluerunt 
prout  in  ea,  creantes  depositarium  denariorum  prestantie 
veteris  exigende  prout  in  ipsa,  Marinus  de  Cacciaguerris 
et  erogentur  in  negocio  de  quo  in  petitione  de  ordine 
deputatorum  seu  deputandorum  ab  ea  et  duo  de  collegio 
infrascripti  faveant  negocio  adhibendo  operam  publicam 
honeste  sunt  poterunt  pro  effectuatione  ipsius  cum  plena 
auctoritate  et  fiant  apotissam  et  scripturam  opportunam 
etc.  omni  meliori  modo  videlicet. 

Jacomus  Ugolini  et  dominus  Bernardus  Bonius  et  mio 
Nicolaus  Campanus. 

Tenor  dicte  Petitionis  est  infrascrittus  videt. 

Illmi.  et  eccellmi.  Signori  di  Balia,  Signori  etc. 

Davanti  a  vostra  Illustrissima  et  eccellente  Signoria 
hanno  ardito  con  ogni  debita  reverentia  gl'ottimi  et 
fidelissimi  Servidori  di  quella  congregatione  et  contrada 
de  la  Abbadia  Nuova  esporre  essere  di  loro  animo  et  mente 
con  ogni  studio  ornare  la  decta  Contrada  et  particolar- 
mente  d'un  raro  et  bellissimo  fonte  come  alcuni  de  le 
medesime  el  disegno  ban  visto  sperando  che  non  solo 
e'luogo  istesso,  ma  la  citt^  non  meno  de  honorare  se 
n'habbia  et  perche  al  buono  animo  loro  et  a  lo  integro 
de  le  spese,  che  pensano  arrivare  a  scudi  200  in  circa,  le 
proprie  forze  come  deboli  corrispondare  non  possano,  sono 
stati  con  fermi  et  accesi  nelle  intenzioni  loro  da  la  molta 
^  In  the  margin,  "  Giro :  Paccinelli.     Sobdoma." 


3i8  APPENDIX 

cortesia  benignita  di  V.S.I,  promettendosi  non  habbino 
di  mancare  di  favorire  la  impresa  et  auitare  questi  lor 
fidelissimi  Servitori  con  auito  massime  che  al  publico  in 
picciol  pregiuditio  ritornar  possa  et  percio  desidererieno 
et  ne  le  supplicano  che  si  degnassero  conceder  loro  le 
preste  vecchie  de  la  abbadia  nuova  di  sotto  e  di  sopra  da 
riscuotarle  et  depositarle  in  dove  parr^  a  V.S.I,  a  causa 
si  rendino  certe  et  veder  possino  s' habbino  a  spendar  solo 
a  questa  effetto  et  cosi  ordinare  potranno  che  le  habbia 
chiaramente  a  vedere,  la  quale  cosa  ottenendo  come 
sperano  oltra  1'  esecutione  di  si  lodevole  opra  restaranno 
et  gli  successori  loro  insieme  in  eterna  memoria  et  servitio 
perpetuo  con  quelle  quale  nostro  Signore  Iddio  in  stato 
felicissimo  conservi.^ 

Concistoro  Scritture.  1530.  Notula. 
Item  diamo  notitia  qual  mente  ad  honore  de  la  gloriosa 
vergina  Maria  si  fa  dipengere  la  madonna  a  la  porta  a 
Sancto  Vieno  et  sonno  operari  fuor  del  collegio  e  maestro 
Giovanni  Palmieri  et  conpagni  di  nove  di  guardie  et  del 
collegio  misser  Bernardino  di  PhilippoBuoninsegni  et  Giro- 
lamo  Paccinelli  et  hanno  in  le  mani  fiorini  125  et  autorita 
di  risquotar  le  condannagioni  de  la  guardia  da  poterne 
diminuir  la  terza  parte,  sar^  bene  V.  S.  M .  procurino  si  finisca.^ 

No.  24. 

Contract  and  documents  regarding  the  Cappella  di  Piazza, 
Official  Commission    to   GlO.    ANTONIO,   detto   it   SODOMA,   to 

decorate  the  Cappella  di  Piazza. 

Arch.  Not.  Prov.   Siena.     Atti  d'Ordinamento 

Civile.    Fra  i  Rogiti  di  Ser  Sigismondo  Trecerchi,    Rep.  E, 

Busta  55. 

1536-37,  6  di  Marza. 

Al  nome  di  Dio,  e  della  sua  imaculatissima  madre   Maria 

Vergine,  a  di . . .  del  mese  di  Marzo  MDXXXVI. 

Apparr^  manifesto  a  qualunche  persona  vedra,  e  leggiara 

^  In  the  margin,  "  Contrada  della  Abbadia  JVuova." 
2  In  the  margin,  "  Porto  ad  Santo  Vieno." 


DOCUMENTS  319 

la  presente  scritta,  come  li  prestantissimi  Camillo  Ascarelli, 
Belisario  Bandinelli,  Fabio  di  Girolamo  Garghi,  e  Alfonso 
Accarigi  cittadini  senesi,  et  operari  deputati  dal  magnifico 
Concistorio  integro  de  li  eccelsi  Signori,  e  Capitano  del 
Popolo  de  r  inclita  citta  di  Siena,  ad  esseguire  le  cose  sotto 
scritte  con  plena,  et  ampla  auttorita,  come  ne  appare  di 
manodi  me  Lattantio  Girolami  notaro  in  quel  tempo  d'esso 
Concistoro ;  et  il  magnifico  et  generoso  cavaliere  messer 
Francesco  Talomei  degnissimo  operaro  de  la  chiesa  cathe- 
drale  de  la  detta  citta,  alluogano  a  dipegnare  1'  altare  de  la 
cappella  de  la  Piazza  pubblica  di  Siena,  nel  ritratto,  e  modo 
che  sta  al  presente,  al  generoso  cavaliere  misser  Giovann- 
antonio  Soddoma,  pittore  eccellentissimo  ;  el  quale  sia 
tenuto  e  obligato  dipegnarvi  una  Nostra  Donna  in  mezzo, 
e  da'  lati  li  quattro  Advocati  de  la  Citta,  e  da  Capo  dove 
e  il  frontespitio,  uno  Dio  Padre,  e  tutte  bellissime  fighure, 
con  perfetti  colori  da  provedersi  a  spese  d'  esso  Misser 
Giovannantonio  ;  el  quale  promette  e  s  obliga  di  dare  finito 
il  detto  altare  con  dette  figure  a  Santa  Maria  d'  Agosto 
prossimo  anno  MDXXXVII.,  per  prezodi  scudi  sessanta, 
da  pagarseli  per  ordine  d'  essi  oparai  in  questo  modo,  cioe  : 
al  presente  scudi  quindici,  e  altri  scudi  quindici,  quando 
havera  amezzato  la  detta  opera,  e  scudi  quindici  di  poi 
presso  alia  fine  ;  e  scudi  quindici,  finita  che  sara  al  detto 
tempo  ;  con  questo  patto,  e  conditione,  che  la  detta  opera, 
e  pittura  s'  habbia  stimare  per  duo  homini  comuni ;  e  caso 
che  ella  fijsse  stimata  piu  prezzo  de  li  detti  60  scudi,  detto 
messer  Giovannantonio  per  suo  cortesia  relassa  quel  piu,  e 
chiamasi  contento  d'  havere  solamente  li  60  scudi  :  e  se 
fusse  stimata  meno  di  60  scudi,  e  contento  d'  havere  sola- 
mente quello  che  fusse  stimata :  con  questo  patto,  che 
detto  Messer  Giovannantonio  sia  obligato  d'  haver  finita  la 
detta  opera  perfettamente  al  detto  tempo  ;  altrimenti  caschi 
in  pena  di  scudi .  . .  non  essendo  pero  impedito  da  legittimo 
impedimento  :  il  che  Dio  cessi.  Per  la  osservantia  de  le 
cose  predette  li  prenominati  operai,  e  commissari  obbligano 
il  suo  magnifico  Comune  di  Siena,  e  suoi  beni  ;  et  il  detto 


320  APPENDIX 

Messer  Giovannantonio  se  medeslmo,  e  suoi  beni,  et 
herede.  A  preghiera  de'  quali  io  Lattantio  Girolami 
detto,  notaio,  come  privata  persona,  ho  fatto  la  presente 
di  mia  propria  mano,  la  quale  sara  soscritta  da  le  parti 
predette  d'  esser  contente  a  quanto  di  sopra  si  contiene,  et 
e  scritto. 

E  io  miser  Giovane  Antonio  sopradeto  aferme  et  obli- 
gome  quanto  di  sopra  questo  di  sei  de  Marzo. 

E  io  Francesco  Tholomej  sopra  detto  afermo  et  so' 
comtemto  {sic)  a  quanto  di  sopra  si  contiene,  e  pero  6 
fatti  questi  di  mano  propria. 

Io  Bellissario  di  Ghuido  Bandinelli  sopradetto  so'  con- 
temto  {sic)  a  quanto  di  sopra. 

Io  Alfonso  Acharigi  sopradetto  afermo  quanto  di  sopra. 

Io  Camillo  Ascharelli  scrissi. 

Io  Fabio  di  Girolamo  Garghi  sopradetto  so'  contento 
quanto  di  sopra,  etc. 

Note. — It  may  be  remarked  that,  although  this  document  is  at 
present  filed,  as  stated,  under  the  Rogiti  di  Ser  Sigismondo  di  Giovanni 
Trecerchi,  it  apparently  should  (and  may  hereafter)  be  filed  under  those 
of  Lattanzio  di  Girolamo  Girolami^ 

Arch,  di  Stato.  Deliberazioni  delta  Balia,  ad  annum, 
a  c.  205  t. 

25  Novembre,  1527. 

Magnifici  Domini  Officiales  Balie,  etc. 

Item,  ad  honorem  et  gloriam  intemerate  et  gloriosissime 
Virginis  Marie  unanimiter  deliberaverunt  reactare,  et  quod 
reactetur  figure  ipsius  Virginis  Marie  della  Cappella  di 
Piazza. 

Et  utsupradicta  exequatur,  deliberaverunt  daresummam 
potestatem  tribus  per  Priorem  eligendis,  actare  faciendi 
dictam  figuram  et  immaginem  Marie  Virginis  cum  auctori- 
tate  expendendi  usque  ad  ducata  triginta  auri  de  sole,  et 
pro  predictis  fieri  faciendi  decretum  officio  Bladi,  quod 

^  Cf.  Milanesi,  Docutnenii  cit.,  torn.  cit.  p.  127.     No.  66. 


DOCUMENTS  321 

solvatur  dictos  ducata  xxx.  super  modiis  300  grani  recepti 
a  Collegio  per  manus  Antonii  de  Belantibus  et  Domini 
Alexandri  Paccinelli. 
Et  fuerunt  electi  : 

Johannes  Bapt*  Piccolomineus 

Contes  de  Buonsignoribus 

Nicolaus  Campana. 

Arch,  detto.     Concistoro  Scritture^  Notula. 
1530. 

Item  diamo  notitia  a  V.  S.  qualmente  a  laude  de  la 
intemerata  Vergine  Maria  habiamo  deputati  tre  operari 
videlicet  Conte  Buonsignori  et  i  compagni  a  fare  tornar  et 
rinfrescar  la  figura  di  nostra  Signora  de  la  cappella  di  piaza 
quali  hanno  hauto  per  tale  contio  scudi  30  d'  oro  di  sole 
per  principio  di  tale  opera. 

Arch,  detto.     Con.  ScriL,  Not. 

1531- 
In  prima  atteso  vana  essere  la  cura  di  quelli  che  sonno 
preposti  al  governo  et  guardia  de  la  citta  se  Dio  non  inter- 
viene  con  ausilio  suo.  Accio  la  citta  vostra  in  pace  et 
liberta  si  conservi  con  ogni  diligentia  procurarete  1'  honor 
di  Dio  et  de  la  immacolata  Vergine  Maria,  padrona  et 
advocata  nostra  sia  osservato  et  sia  dato  finimento  al 
tempio  principiato  ad  honor  de  la  immacolata  Concettion, 
dove  sono  fatti  li  operari  et  ancora  la  pittura  de  la  cappella 
vostra  di  piaza  si  rinfreschi  et  si  eseguischa  per  li  operai, 
quella  della  porta  Sancto  Viene. 

Arch,  detto.     Con.  Scrit.,  Not.  fol.  3. 
1532. 

Sara  cosa  molto  convenevole  ancora,  che  per  honor  di 
dio  e  di  nostra  Signora  prima,  e  di  poi  dela  citta  loro  le 
faccino  rinfrescar  la  pittura  de  la  cappella  de  la  piazza  loro. 

^  These  are  a  number  of  loose  papers  collected  in  a  portfolio. 

21 


322  APPENDIX 

Arch,  detto.  Con.  Scrit.  ad  annum. 
1537-38,  Marzo  e  Aprile. 
Gia  piu  mese  sono  che  per  li  precessori  fu  allogato  a 
dipegnare  la  Cappella  di  Piaza  al  Soddoma  dipentore,  et 
di  gia  ha  ricevuti  ducati  30.  Alii  giorni  passati  se  li  e 
scritto  per  ordine  delli  operari,  per  essere  in  Piombino, 
che  venghi  ad  finire  la  opera  sua  secondo  che  sta  lo 
obbligo  quale  e  apresso  de  li  medesimi ;  non  per  ancho  si 
tiene  risposta,  non  mancheranno  V.  S.  per  honore  publico 
farci  dare  fine.  Li  operarij  sonno  questi :  Camillo 
Ascharelli,  Bellisario  Bandinelli,  Fabio  di  Girolamo 
Garghi  et  Alfonso  Acharigi. 

Arch,  detto.     Concistoro  Deliberazioni,  vol.  1029. 
1537-38,  Martis.     Die  xvi.  Aprilis.  30. 
Ac  etiam  mandaverunt  literas  Domino  Johanni  Antonio 
Sodona  pictore  in  dicto  qui  redeat  Senas. 

Arch,  detto.  Con.  Scrit.  ad  annum. 
1537,  Giugno  30. 
Si  e  allogato  al  Soddoma  pittore  la  pittura  della 
Cappella  di  piaza  per  ordine  de'  nostri  precessori  et  di  gia 
ha  ricevuto  al  tempo  de' nostri  precessori  scudi  quindici 
d'oro  et  furno  deputati  operari  li  sottoscritti  sara  bene  el 
sollecitarli  accioche  tal  opera  habbi  executione 

Camillo  di  maestro  Jacomo  Ascarelli. 

Belisario  di  Guido  Bandinelli. 

Fabio  di  Girolamo  Gharghi. 

Alfonso  di  Francesco  Accharigi. 

Arch,  detto.  Concistoro  Deliberazioni,  vol.  1034, 
fol.  4*. 

1538,  Die  V .  Januarii  {st.  Sen.) 

Super  pictura  capelle  platee  mittatur  per  operarios  per 
dominum  Franciscum  Tolemeum  et  per  Sogdoniam 
pictorem  et  intelligant  diligenter  et  perficere  faciant  et 
referant  in  eo  quod  ipsi  agere  non  possent. 


DOCUMENTS  323 

Arch,  detto.     Con.  Delib.,  vol.  detto,  fol.  17. 

Die  xxvi.  Januarii. 

Et  deliberaverunt  una  cum  dictis  Vexilliferis  quod 
sacrista  palatii  fieri  facial  unam  tendam  cum  armis 
comunis  Senarum  ante  picturam  noviter  factam  in  cappella 
campi  fori  ad  hoc  ut  dicta  pictura  conservatur  et  fiat 
decretum  et  ponat  ad  eius  exitum  de  denariis  palatii  et 
bullectino  etc. 

Arch,  detto.     Con.  Delib.,  vol.  103 1,  fol.  12. 

Die  nona  Julii. 

Et  quoniam  dominus  Johannes  Antoni  Sodonus  pictor 
egregius  qui  cepit  pingere  cappellam  platea  turris  tenetur 
perfecisse  illud  opus  infra  certum  tempus  et  sub  quadam 
pena  inscripta  locationis  expressa  et  illustrissimus  dominus 
Plumbini  mensibus  elapsis  supplicavit  per  licteras  licentiam 
ut  dicto  domino  Johanne  Antonio  concederetur  ut  possit 
toto  mense  maij  esse  in  terra  Plumbini  et  fuit  ei  concessa 
et  adhuc  non  revertitur,  licet  alias  quod  ejius  reditu 
procurando  misse  fuerunt  alie  lictere  ad  dictum  illustris- 
simum  dominum  servatis  etc.  concesserunt  auctoritatem 
infrascriptis  duobus  possint  si  eis  videbitur  de  novo  super 
dicta  causa  eumdem  scribendi 

Domino  Hieronimo  Tantuccio 

Domino  Camillo  Peccio. 

Arch,  detto.     Con.  Delib.,  vol.  detto,  fol.  25*-,  26. 

Die  \\.  februarii. 

Illustrissimi  Domini  Capitaneus  Vexilliferi,  Consiliarii 
Balia,  Guardia  et  alii  de  Ordinibus  ponipose  facta  cere- 
monia  candelarum  in  cappella  palatii  se  contulerunt  in 
cappellam  campi  fori  et  ibi  magnificus  eques  dominus 
Franciscus  operarius  catredalis  ecclesie  constitutus  etc. 
promixit  eisdem  et  michi  notario  stipulantem  etc.  dictam 
cappellam    tenuisse    et    tenore   pro    magnifico    Comuni 


324  APPENDIX 

Senarum  et  promissit  et  convenit  nullam  ius  patronatis 
acquirere  sed  illud  et  illam  tenere  pro  magnifico  Comune 
Senarum  et  ab  aliquo  non  recognoscere  sub  pena  duca- 
torum  mille  auri  in  auro.  Pro  quibus  obligavit,  etc. 
renuntiavit  etc.  juravit  etc.  cum  guarentigia  etc.  rogatis  etc. 

Actum  in  dicta  cappella  coram  Ugone  de  Bertis  et 
Johanne  Baptista  Rubeo  testibus  etc. 

Et  post  predicta  se  contulerunt  ad  ecclesiam  catredra- 
lem  more  solito  etc. 

fol.  28.     Die  quinta  Februarii. 

Et  super  pictura  platea  videlicet  cappelle  deliberaverunt 
quod  magnificus  Capitaneus  et  dominus  Petrus  habeant 
circa  eam  et  cum  Sodoma  amplissimam  auctoritatem 
commissionem  terminandi  et  ultimandi,  etc. 

fol.  43*",  44.     Die  xxi  Februarii. 

Illustrissimi  Domini  etc.  et  Capitaneus  populi  etc  alias 
audito  domino  Joanneantonio  equite  pictore  aliter  el 
Soddomo  dicente  qualiter  pictura  per  eum  facta  in  cappella 
campi  fori  sive  conventionem  sue  locationis  debet  extimari 
per  duos  homines  communiter  eligendos  et  offerente  se 
paratum  hominem  pro  parte  sua  eligere  et  ex  tunc  elegit 
ad  dictam  extimationem  faciendam  pro  parte  sua  magis- 
trum  Bartalum  Davit  pictorem ;  ideo  servatis  etc.  pro  parte 
Consistorl  eligerunt  ad  dictam  extimationem  cum  dicto 
magistro  Bartolo,  magistrum  Johannem  Laurentii  pictorem 
in  Salicotto  et  predicta  omni  modo,  etc. 

Die  dicta  dictus  magister  Bartolus  acceptavit. 

Die  xxiiij  februarii  acceptavit  dictus  magister  Joannes. 

1538  (vol.  1035,  fol.  6*.)  Die  xviiij  Marzo. 

Magnifici  Domini  et  Capitaneus  populi  ante  dicti  etc. 
servatis  servandis  deputaverunt  per  plures  voces  in  tertium 


DOCUMENTS  325 

ad  extimationem  faciendam  opere  cappelle  seu  picture 
ipsius  una  cum  arbitris  iam  electis  magistrum  Dominicum 
alias  Mecuccium  pictorem. 

Arch,  dell'  Opera  del  Duomo.  Libro  Giallo  detto 
deir  Assunta,  fo.  369. 

1539. 

E  a  di  ij  d'aprile  1539  lire  cinquantasei  se  li  fan 
buoni  a  Ugo  Berti,  camarlengo  che  li  pago  a  missere 
Giovantonio  Sodoma  dipetore  per  resto  de  la  dipegnitura 
de  la  cappella  di  piaza,  sono  a  sua  uscita  fo,  146*  .  .lire  Ivj 

No.  25. 

Correspondence  between  the  Signoria  of  Siena,  "  Cavaliere 
GlOVANNANTONIO  SODONE,"  and  Jacomo  v..  Prince  of 
Pioinbino. 

La  Signoria  di  Sietta  a  GlOV.  ANTONIO  Bazzi  detto  il 
Sodoma  da  Siena. 

Arch,  di  Stato  di  Siena.    Copia  lettere.    Filza  194. 
vol.  1748. 

II  dl  xvi  d' Aprile  1538,  a  Ms.  Giovannant"  Sodone 
Pittor*  si  scrisse  : 

Generoso  Cavaliere, — Sai  che  si  conviene  a  buo'  pittore, 
a  cio  che  la  virtu  sua  si  manifesti  parimenti  a  ogniuno,  non 
incominciar  solo  una  bella  opera,  ma  tirarla  con  talprestezza 
e  in  tal  modo  a  fine,  che  ciascuno  habbi  giusta  cagione  di 
maravigliarsi  di  questo.  Perche  addunque,  come  sai,  desti 
principio  a  la  cappella  nostra  di  Piazza,  qual  grandemente 
ci  spiace  vederla  cosi  imperfetta,  poiche  el  tempo  e  comodo, 
non  mancarai,  vista  la  presente,  di  venir  subbito  a  finir 
r  incomminciato  lavoro ;  il  che  facendo  farai  il  debito  tuo 
imperoche  di  tanto  ubbligato  ti  sei,  et  fino  a  questa  hora 
secondo  le  conventioni  dovrebbe  esar  fornita  ;  e  a  noi  farai 
cosa  grata,  altrimenti  procedaremo  secondo  ch'  il  giusto 
comportasse,  ec,  ec. 


326  APPENDIX 

La  medesima  a  GlACOMO  V.,  PRINCIPE  Dl  PlOMBINO. 
Arch,  detto.     Filza  detto,  etc. 

2  di  Maggio  1538,  al  Iir°  SiGNOR  DI  PlOMBINO  JACOMO 
QUINTO,  etc.,  etc. 

Non  potiamo  in  alcun  modo  mancare  al  giusto  desiderio 
dela  S.V.,  non  essendo  men  desiderosi  del'  utile  e  del 
honor  di  quella  che  del  nostro  medesimo  :  servisi  adunque 
comodamente  L'ecc''  V.  del  Cavalier  Sodone  per  il  mese 
di  Maggio,  come  ci  ricercha,  rimandandocelo  infatto  poiche 
costihariafinito  I'incominciato  Lavoro,accio  che  noi  ancora 
restiamo  in  breve  di  quel  che  gia  piu  mesi  sono  ci  doveva, 
satisfatti ;  che  mancando  el  sopradecto  cavalier'  del  debito 
suo.haremogiustacagionedi  dolerci  diquello,eprocedargli, 
contra  come'  il  giusto  et  il  ragionevole  comportasse.  Ne 
altro  diremo  ala  S.V.,  a  la  quale  ci  offeriamo  ;  che  dio  la 
contenti. 

La  medesima  al  GlO.  ANTONIO  detto  il  Sodoma. 
Arch,  detto.     Filza  detto,  etc} 

A  Ms  Giovanni  Ant°  Sodone  Pittor 'si  scrisse ;  Noi  non 
ci  estendaremo  in  piu  parole'  a  ricordarti  1'  obligo  che  hai 
con  esso  noi  del  opera  dela  Cappella  ch'hai  lassata  inper- 
fetta  ;  e  come  di  gia  molti  giorni  sia  passato  il  tempo,  che 
per  accommodare  cotesto  Signor  ti  demo  licenza  di  restare 
con  esso  infino  tutto  il  mese  di  Maggio,  ti  diremo  solamente 
che  senza  fame  altra  giustificatione  seguiremo  quanto  il 
giusto  richiede  secondo  i  patti  che  sono  tra  noi.  Procura 
adunque  il  caso  tuo,  e  vogli  piu  presto  che  noi  habbiamo 
a  lodarci  di  te  :  che  dolera  a  fame  appresso  dimostratione. 
II  che  seguendo  sar^  solamente  per  colpa  tua.  Ne  altro 
ci  accade. 

La  medesima  al  PRINCIPE  DI  PlOMBINO. 

Arch,  detto.     Filza  detto. 

xvii  Giugno,  1538.     Al  111.  SiGNORE  DI  PlOMBINO  si  scrisse  : 

Ricordisi  la  S.V.  che  ricercandone  gia  piu  giorni  sono 

^  This  letter  is  not  dated,  but  is  probably  of  the  same  date  as  the 
following  one  to  the  Prince  of  Piombino — i.e.  June  17th,  1538. 


DOCUMENTS  327 

di  volersi  valer  per  qualche  suo  bisogno  del  opera  del 
Cavalier'  Sodone,  noi  per  farle  cosa  grata  non  dubitammo 
scommodarci,  e  darli  licentia  che  restasse  infino  tutto  il 
mese  di  Maggio,  come  essa  desiderava,  doppo  il  qual  tempo 
ci  prometteva  liberamente  di  rimandarlo,  dove,  essendo 
gia  di  longo  passato,  e  parendo  pure  conveniente  di  tirar'  a 
fine  r  opera  che  fu  da  esso  incominciata,  stavano  aspettando 
che  la  S.V.  lo  rimandasse  ;  Hora  non  venendo  ad  effetto, 
habbiamo  pensato  farle  intendare  intornoa  questo  I'animo 
nostro,  e  replicarle  come  saremo  forzati  a  procedere  contra 
di  lui  secondo  che  richiede  il  dovere,  per  virtu  dele  con- 
ventioni  fatte  co'esso.  Ci  rendiamo  ben  certi  che  dala 
S.V.  non  restara  rendarci  il  cambio  di  non  fare  manco 
suo  comodo  il  nostro,  che  ci  facessemo  noi  allhora  (sic), 
il  suo  proprio,  come  ancora  saremo  per  fare  in  ogni  altra 
occorrenza.     Et  il  nostro  Signore  Dio  la  S.V.  contenti. 

La  medesima  al  PRINCIPE  DI  PlOMBINO. 
Arch,  detto.     Filza  detto,  etc. 

1538,  3  di  Luglio. — Air  Illmo.  SiGNORE   DI   PlOMBINO  JACOMO 
QUINTO. 

Piu  giorni  sono  che  si  scrisse  a  V.S.  che  si  contentasse 
di  rimandarci,  poiche  per  tutto  Maggio  glien'havevam  fatta 
commodity,  el  Cavaliere  Sodone,  accio  che  tirasse  a  fine 
una  cappella  nostra,  qual  partendo  imperfetta  lassa  ma  non 
solo  non  e  tornato  il  sopradetto  cavaliere  ma  non  habbiamo 
havuto  risposta  di  cosa  alcuna  di  V.S.  di  che  veramente 
ci  saremo  maravigliati,  se  in  tutto  fussimo  stati  certi  che 
le  nostre  fussero  venute  alle  mani  di  quella ;  maggior- 
mente  cognoscendola  persona  cortese  ea  Noi  amicissima  : 
Maperche  teniam  per  fermo  che  non  1'  abbi  la  S. V.  ricevuta, 
gli  habbiamo  ancora  con  questa  a  voluto  ricordare,  che  di 
molto  e  passato  il  tempo  i'nel  quale  ella  ci  promisse  di 
rimandarcelo.  La  quale  se  fara  che  subito  a  Noi  ritorni, 
fara  quello  che  se  li  conviene,  e  noi  non  potremo  lamentarci 
di  quella,  alia  quale  c'offeriamo  che  nostro  Signore  Dio 
contenti. 


328  APPENDIX 

GiACOMO  QuiNTO  Principe  di  Piombino  alia  Signoria  di 
Siena  da  Piombino. 

Arch,  detto^  Balia  Lettere,  1539. 

Originate. 

Magnifici  et  eccelsi  Signori  Signorl  come  patroni  osser- 
vandissimi. 

Dubio  non  h  ch'l  modo  desiderio  del  cavalier  Sogdona 
nel  far  piacere  a  me,  et  la  satisfactione  mia  vedendo  tirare 
a  perfettione  la  tavola  nostra  gia  di  tanto  tempo  promessa, 
hanno  causato  che  non  tanto  del  cavaliero,  ma  di  me, 
come  prencipio  {sic)  del  commesso  fallo.  Vostre  E  ccellente 
S.  ban  presa  qualche  ammiratione  ;  dove  io,  insieme  seco 
pensando  et  recognosciutomi  dell'  errore  in  qualche  modo 
partecipare,  massime  che  questa  colpa  sua  della  dilatione 
a  tutto  mio  comodo  fia  reduntata,  confesso  ingenuamente 
che  di  tal  caso  1'  obligatione  e  carco  debbi  esser  mio  verso 
di  quella,  et  tanto  piu  lo  confermo  che  dala  banda  del 
Cavaliere  par  che  si  defenda  ill  falo  dalla  professione  del 
pittore,  quale  (si  come  a  poeti  spesso  avvenir  suole)  da 
furore  e  tirato  e  sforzato  di  modo,  che  volendo  dalla  presa 
opera  desistere,  facilmente  non  possi.  Anchora  io  per  la 
verita  quasi  allucinato  et  fatto  vago  nel  operar  suo,  ho 
presa  troppa  confidenza  di  Vostre  Eccelse  Signorie  per 
non  haverlo  al  venir  sollecltato,  come  sarea  stato  bisogno. 
Ma  ben  le  fo  certe  che  con  tanto  piu  fervore  al  servitio 
loro  si  presenta,  che  ogni  tardita  usata  col  valore  et  eccel- 
lenza  dell'  opera,  ch'egli  fara,  lia  compensato.  Per  tanto 
ed  oltre  per  amor  mio  Vostre  Signorie  saran  contente 
(remosso  qual  vi  fusse  nato  sdegno)  con  grata  fronte 
riceverlo,  del  che  degna  e  la  sua  virtu  et  servitu  tiene  con 
le  medesime  fidelissima.  Siche  io  meritamente  et  come 
persona  da  me  molto  diletta,  di  tutto  buon  cuore  lo  recco- 
mando.  Alle  quali  da  buon  figlio  et  servitore  sempre 
m'offro  e  raccomando.     Di  Piombino  a' XII I.  d' Agosto 

^539-  II  Principe  di  Piombino. 


DOCUMENTS  329 

No.  26. 

Award  made  by  VannoccIO  DI  PaOLO  Biringucci  in  a  suit 
between  the  brothers,  GIOVANNI  and  Arduino  Arduini,  and 
Cavaliere  Giovannantonio,  alias  SODOMA,  as  to  the 
value  of  the  painting  of  the  ''Adoration  of  the  Magi,''  now  in 
the  Church  of  S.  Agostino  in  Siena. 

Arch.  Not.  Prov.  Siena.  Filza  5  dei  Lodi  di  Ser 
Francesco  Figliucci.  {Atti Notarile.)  Rep.  A,  Busta  580.  1536, 
13  d'Ottobre. 

Noi  Vannoccio  di  Pauol  Biringucci  arbitro  et  arbitra- 
tore,  e  terzo  eletto  e  chiamato  da  li  spectabili  Giovanni 
et  Arduino  Arduini  Cittadini  senesi  da  una  parte,  e'l 
magnifico  cavaliere  Misser  Giovannanf,  alias  Sodona, 
dipentore,  da  1'  altra,  a  decidare  et  mozare  certe  loro  liti  et 
differentie  in  fra  decte  parti  vertenti  per  causa,  come  nel 
compromesso  in  noi  facto  in  la  corte  de  la  Mercantia, 
rogato  ser  Francesco  Figliucci  notaio  di  decta  corte,  ad 
pare  ;  onde  visto  el  decto  compromesso  in  noi  facto,  et 
viste  le  ragioni  de  le  parti,  et  intesole  piu  volte  tanto 
insieme,  quanto  di  per  se  ;  per  por  fine  a  le  decte  lor  liti, 
tale  in  fra  decte  parti  lodo  et  arbitramento  diamo,  cioe  : 

Christi  nomine  invocato ;  imprima  giudichiamo,  per 
haver  decto  cavalier  facta  una  tavola  in  Sancto  Agustino 
per  li  decti  Arduini,  li  decti  Arduini  per  la  mercede  et 
factura  di  decta  tavola  havere  integramente  pagato,  et  li 
absolviamo  di  decta  factura  di  decta  tavola  in  tutto  et  per 
tutto,  et  di  tutto  che  havesse  facto  in  la  cappella. 

Item,  condanniamo  li  decti  Arduini  a  restituire  al  decto 
cavaliere  un  tondo  di  mano  di  decto  cavaliere,  dove  e 
dentro  una  Nostra  Donna,  una  santa  Lisabetta,  et  un 
santo  Giuseppe,  tutt'hora  e  quando  el  decto  cavaliere 
dar^  a  li  decti  Arduini  scudi  sette  :  el  quale  tondo  se 
intenda  doversi  restituire  con  tutti  li  suoi  fornamenti,  cio^ 
el  festone  dorato,  nel  essere  che  si  trova. 

Item,  di  tutte  le  altre  cose  vertenti  infra  loro,  le  decte 
parti  liberiamo  et  absolviamo  I'una  parte  e  1' altra,  el' altra 
e  r  una  :    et  questo  giudichiamo,  lodiamo,  et  arbitriamo 


330  APPENDIX 

non  solo  come  di  sopra,  ma  in  ogni  miglior  modo  che 
lodare  et  giudicare  si  puo. 

10  Vannoccio  Biringucci  albitro  sopradetto  giudico  et 
lodo  come  di  sopra  e  scritto,  et  in  fede  questo  xiii. 
d'Ottobre  ho  fatto  questi  versi  di  mia  mano  propria. 

Anno  Domini  1536.     Indictione  X,  die  xiii.  Octobris. 
Latum — fuit  dictum  laudum  etc.^ 

No.  26  a. 

Extract  from  Phylolauro  DA  Cave,  Lode  delle  Donne  Senese. 

(Siena.    Calistro  Dubbioso  di  Simone  di  Niccolo.    Dec.  Sth, 

I533-) 
Canto  X.     Chaterina  Rincontri,  donna  di  Marcello 
Petrucci.     Stanze  14,  20,  21. 

Sel  Sodoma,  sel  Riccio  e  Mattheo  tosto 
Ch'el  mio  Castello  e  la  mia  Patria  honora, 
Se  Mecarino  al  colorir  disposto 
O  chiunque  ai  nostri  di  sculpe  e  colora 

11  volto  (ove  con  1'  arco  amor  s'  e  posto), 
Havessen  visto  over  vedessen  ora 

Di  questa  che  ciascun  1'  adora  e  brama, 
Saria  piu  chiara  (ch'  or  non  e)  lor  fama. 

Ne  Sodoma  quel  volto  almo  e  divino 
(Quantunque  bello)  co'  tre  Magi  avanti 
Dentro  nel  sacro  tempio  d'  Augustino 
Haria  dipinto,  co'  molti  altri  Santi 
Su  r  altar  (ch'  e  alia  porta  piu  vicino), 
Ne  Mattheo  tosto  fatti  altri  sembianti 
Harebbe  in  Cave  dentro  al  sacro  tempio 
Di  quel  di  cui  le  pietre  fer  gran  scempio. 

Ne  Bastiano  haria  Venetia  plena 
Ne  di  piu  volti  e  piu  figure  ombrata 
Ne  Sodoma,  ne  Riccio  harebben  Siena 
Ne  Mecarin  d'  altre  figure  ornata — 

^  Usual  legal  forms  and  recognitions  of  the  signatures  follow. 


DOCUMENTS  331 

Se  di  costei  la  fronte  alta  e  serena 
Gli  occhi  e  1'  effigge  di  belta  dotata 
Tenuta  havessen  sempremai  davante 
Ma  del  suo  rara  anzi  divin  sembiante. 

[Were  Sodoma,  Riccio,  and  Matteo  eke, 
Whom  my  city  and  my  country  honour, 
Were  Mecarino  to  paint  inclined  ; 
Or  those  in  our  day,  who  carve  or  paint, 
The  brow  (where  Love's  archer  crouches) 
Could  have  seen,  or  yet  should  study  now 
That  face  whom  each  of  us  adores,  or  yearns, 
Their  fame  (which  now  'tis  not)  would  more  resplend- 
ent shine. 

Nor  Sodoma  had,  that  brow,  dearest  and  divine 

(Gracious  though  it  be)  with  the  Magi  three  before  her 

Within  Augustine's  sacred  fane 

So  painted  with  Saints  unnumbered, 

O'er  the  altar,  set  nearest  to  the  gate  ; 

Nor  e'en  Matteo  would  those  forms  create 

In  Cave  within  the  hallowed  shrine 

Of  him  to  whom  the  stone  did  such  grievous  hurt.^ 

Nor  Bastiano  would  all  Venice  fill 

Nor  with  more  faces  and  more  forms  o'ershadow. 

Nor  Sodoma  have,  nor  Riccio  would  Siena 

Nor  Mecarino,  with  other  shapes  adorn. 

Had  they,  her  brow  so  lofty  and  serene, 

Those  eyes  and  form  with  beauty  dowered. 

Held  evermore  before  their  minds. 

E'en  that  semblance  rare,  that  form  almost  divine.] 

In  the  Siena  Library  there  is  a  charming  little  copy  of 
this  book,  minus  the  frontispiece  and  colophon.  It  is 
bound  in  brown  leather  with  the  following  inscriptions : 

O    FALLAX    AMOR    CUR    TUA    FAX    URIT    (on    the    face)  :    ESTO 

GUSTOS  CORDIS  MEi ;  ROGO  (on  the  back). 

^  St.  Stephen. 


332  APPENDIX 

No.  27. 

Purchase  by  "GIOVANNI  Antonio  di  Giacomo  de  Bazis, 

PiCTOR,   DE   Verz£"   of  a   house   in   the    Via    Vallerozzi. 

(Arch.  Not,  Prov.  Siena.    Rogiti  di  Ser   Corti  Bal- 

dassare  da  Pienza  \Gestioni Notarili  Anteriori aWanno  1585]. 

Rep.  A,  Busta  988.     Atto  No.  192.) 

Cessio  jurum  et  locatio  facta 
Sogdome  Pictorj. 

Anno  domini  1534. 

Indictione  viij  die  vero  xxiij  Ottobris  Paulo  Tertio 
summo  Pontifice  et  Carulo  quinto  romanorum  Imperatore. 

Ex  serie  presentis  publici  instrumenti  omnibus  evidenter 
appareat  et  sit  notum.  Qualiter  Sebastianus  olim  Andree 
calzectarius  de  Senis  per  se  etc.  et  eius  filios  masculos  et 
durante  eius  linea  maschulina  dedit  cessit  etc.  magnifico 
et  generoso  equiti  domino  Johanni  Antonio  Jacomi  de 
Bazis  pictorj  de  Verze  alias  el  Sogdoma  presenti  etc. 
omnia  iura  et  actiones  etc.  quas  et  que  dictus  Sebbasti- 
anus  habet  etc.  in  et  super  quadam  domo  sita  in  civitate 
Senensi  in  Terzerio  Kamollie  et  in  Contrada  Vallerozi  et 
populo  Sancti  Donati,  cui  ex  uno  Luce  (Posse?)  {sic)  ex 
alio  domine  Caterine  relicte  Luce  de  Gallis,  ex  alio  via 
comunis  etc.  et  si  qui  sunt  etc.  quam  dictus  Sebbastianus 
habet  tenet  et  possidet  et  durante  eius  linea  maschulina 
ad  pensionem  perpetuam  recepit  pro  florenis  sex  pro 
quolibet  anno  a  fratribus  capituli  et  convenctus  Sancti 
Francisci  de  Senis  prout  de  tali  perpetua  pensione  latius 
constat  et  apparet  per  publicum  instrumentum  manu  ser 
Melchioris  magistri  Pretiani  notarj  publici,  quod  instru- 
mentum in  publicam  formam  redactum  eidem  magnifico 
equiti  idem  Sebbastianus  dedit  et  consignavit  in  presentia 
mei  notari  et  testium  infrascriptorum  et  omnia  eius  jura 
et  actiones  de  quibus  supra  eidem  dedit  cessit  et  concessit, 
et  quas  et  que  idem  Sebbastianus  habuit  vigore  dicti 
instrumenti  in  et  super  dicta  domo.     Ad  habendum  etc. 


DOCUMENTS  333 

cum  juribus  omnibus  et  cum  accessibus  etc.  et  cum 
omnibus  etc.  pretio  et  nomine  veri  et  justi  pretij  flore- 
norum  quatraginta  de  libris  quatuor  etc.  de  quo  pretio 
dictus  Sebbastianus  fuit  confessus  et  recognovit  eidem 
magnifico  equiti  se  ab  eo  habuisse  et  recepisse  libras 
septuaginta  denariorum  in  brachiis  22  et  ^  panni  accor- 
dellati  ispani  per  manum  Hieronimi  de  Goris  camerari 
montis  et  salis  magnifici  comunis  et  libras  quinquaginta 
duos  solidos  quatuor  denariorum  in  pecunia  sibi  in  pluribus 
vicibus  a  dicto  magnifico  equiti  numerata  et  libras  triginta 
otto  solidos  15,  denarios  4  pro  residuo  dicte  summe  flore- 
norum  quatraginta  dictus  magnificus  eques  dedit  solvit 
et  numeravit  dicto  Sebbastiano  presenti  etc.  in  pecunia 
numerata  in  presentia  mei  notari  et  testium  infrascriptorum 
et  non  sub  spe  etc.  et  illud  quid  plus  valerent  dicta  eius 
iura  etc.  dedit  et  donavit  etc.  et  dedit  et  donavit  etc.  et 
dedit  licentiam  etc.  quam  tenutam  etc.  et  nichilominus 
etc.  et  promixit  dictam  domum  et  jura  ipsius  Sebbastiani 
supradicti  per  se  et  eius  lineam  maschulinam  non  tollere 
etc.  sed  ipsam  et  ipsa  pro  suo  dicto  et  facto  tantum 
defendere  a  dicta  eius  linea  masculina  prout  supra  et 
statim  mota  lite  etc.  et  ex  dictis  titulo  etc.  dedit  cessit 
etc.  costituens  etc.  asserens  etc.  quod  si  contrafactum 
fuerit  etc.  cum  pacto  tamen  in  principio  medio  et  fine 
presentis  instrumenti  apposito  et  solemni  stipulatione 
vallata  inter  dictas  partes  quod  dictus  magnificus  eques 
durante  linea  maschulina  dicti  Sebbastiani  et  ipso  Sebbas- 
tiano vincte  teneatur  et  obligatus  et  ita  per  se  etc.  promisit 
et  se  obligavit  eidem  Sebbastiano  presenti  etc.  eidem 
Sebbastiano  et  eius  filiis  maschulis  et  linea  maschulina 
predicta  dare  solvere  et  numerare  pro  pensione  et  nomine 
pensionis  dicte  domus  florenos  sex  pro  quolibet  anno 
durante  vita  ipsius  Sebbastiani  et  eiusdem  Sebbastiani 
linea  maschulina  durante  prout  sicut  et  quemadmodum 
dictus  Sebbastianus  teneatur  solvere  dictis  fratribus 
capituli  et  conventus.  Et  ita  in  dicta  annua  pensione 
dictus  magnificus  eques  fecit  et  constituit  se  principalem 


334  APPENDIX 

debitorem  et  pagatorem  dicto  Sebbastiano,  Et  ipsam 
annuam  pensionem  promixit  et  se  obligavit  solvere  eidem 
Sebbastiano  et  eius  Hnee  maschuline  de  tribus  mensibus 
in  tres  menses  absque  aliqua  exceptione  juris  vel  facti,  et 
ab  inde  in  antea  etc.  quarum  solutionum  etc.  cum  refec- 
tione  etc.  Et  cum  pacto  etiam  predictus  magnificus 
eques  non  possit  aliquo  modo  deminuere  stantias  dicte 
domus  videlicet  de  duobus  stantiis  unam  et  facere  aliquam 
fracturam  in  dicta  domo  vel  aliqua  bonificamenta  absque 
expressa  licentia  dictorum  fratrum  capituli  et  conventus, 
que  omnia  et  singula  supra  et  infrascripta  dicte  partes  ad 
invicem  promixerunt  attendere  etc.  sub  pena  duppli  etc. 
quam  penam  etc.  et  dicta  pena  etc.  pro  quibus  etc. 
obligaverunt  etc.  renuntiarunt  etc.  iuraverunt  etc,  cum 
guarantigia  etc.     Rogantes  etc. 

Actum  in  Civitate  Senarum  in  palatio  domini  Potestatis 
in  Residentia  dominorum  9  et  5,  coram  et  presentibus 
Angelo  Francisci  de  Ranconibus  cive  senensi  et  Hiero- 
nimo  Sanctis  notarii  curie  dictorum  dominorum  9  et  5, 
testibus  etc. 

Ego  Baldassar  Curtus  not.  subscripsi  una  cum  supra- 
scriptis  apostillis. 

No.  28. 

Extract  from  NOTA  DELLE  FIXTURE  DI  Tavole,  che  ha  fatto 
in  Duomo  alii  altari,  et  altrove  M"-  Giovanf-  Sogliani,  pittore 
fiorentino,  et   loro   stima. 

(Arch,  del  Capitolo,  Pisa,  Filza  Z.,  p.  357.) 

La  tavola  della  Pieta  titulo  di  San  Barto- 
lomeo  in  sagrestia,  stimata  a  di  5  di  maggio 
1541     .  .  .  .  .         .   scudi  80 

SoDOMA    \  II  quadro  in  tela,  che  e  la  storia  d'Abramo 

scudi  42 
Tanto  fu  stimato  d'accordo  a  di  23  di  luglio 
1542. 


DOCUMENTS  335 

No.  29. 

Extract  from  NOTIZIE  INEDITE  DI  S.  MARIA  DEL   PONTINOVO. 
Leopoldo  Tanfani^  Pisa.     Nistri,  1871. 

P.  114. — Niuno  e  che  ignori  come  uno  degli  altari  di 
Santa  Maria  della  Spina  avesse  1'  adornamento  di  una 
tela  colorita  daGiovannantonio  Bazzi  da  Vercelli,  sopran- 
nominato  il  Sodoma,  e  anche  il  Cavaliere,  il  quale  vi 
dipinse  la  Nostradonna  con  molti  Santi.  Apparisce  dai 
documenti  da  noi  rinvenuti  che  questa  opera  di  pittura, 
la  quale  ora  si  conserva  nella  Accademia  pisana  di  belle 
arti  fu  eseguita  dal  Sodoma  nel  1542,  e  che  egli  ne  ebbe 
li  prezzo  di  526  lire  e  10  soldi.  Peraltro  non  resto  com- 
preso  in  questa  somma  il  valore  dell'  azzurro  oltramarino 
da  lui  usato  nel  quadro,  colore  che  avea  molto  pregio, 
siccome  e  noto,  perche  si  traeva  dai  lapislazzuli ;  che  anzi 
il  Sodoma  venne  in  discordia  con  I'operaio  della  Spina 
intorno  al  prezzo  di  esso,  e  si  tenne  mal  sodisfatto  de'  sei 
ducati  d'  oro  che  n'  ebbe/ 

1  Doc.  XXX.  XXXI. — Dal  seguente  ricordo  dell'  operaio  del  Duomo 
si  vede  come  fosse  caro  il  prezzo  dell'  azzuro  nel  secolo  XIV.: — 
"  Maestro  Antone  di  Franciescho  dipintore  da  Fiorensa,  lo  quale 
dipingie  in  Chanposanto  la  storia  di  Santo  Ranieri,  de'  dare  a  di  7  di 
dicienbre  1385  soprascritto  fiorini  dodici  d'  oro,  li  quali  diei  per  lui  ad 
Aldobrandino  spesiale  per  uncie  vij  d'  azurro,  portoleli  ser  Giovanni 
fattore  dell'  opra  a  bottegha  sua."  Archivio  dell'  Opera  del  Duomo, 
Memorie  delV  operaio,  I.  c.  i8.  Di  un  allievo  del  Sodoma,  non  ricordato 
dagli  eruditi  commentatori  delle  Vite  del  Vasari,  trovasi  memoria  nella 
Entrata  e  Uscita  dell'  opera  dell'  Spina  del  1543;  e  questi  ^  maestro 
Giammaria  pittore,  il  quale  dipinse  quattro  candelieri,  e  fece  altri  lavori 
per  quella  chiesa.  Archivio  degli  Spedali  Riuniti.,  filza  1762,  c.  5, 
e6. 

P.  217. 

XXX. 

Z'  operaio  di  S.  Maria  della  Spina  paga  33  scudi  d'  oro  al  Sodoma 
in  conto  di  un  quadro  per  delta  chiesa. 

1543,  maggio  16.  (A.  S.  R.  Entr.  e  Use.  dell' opera  della  Spina  ad  annum.) 

Et  piii  lire  dugentoquarantanove  date  al  Cavalieri  ditto  il  Soddoma 


336  APPENDIX 

No.  30. 

Letter  from  PlETRO  Aretino  to  "  SODONA."     (Lettere.    Parigi, 
1609,  lib.  iii.  p.  163.) 

1545.  dAgosto.     Al  Sodona. 

lo  nelloaprirde  la  lettera  mandatami,  leggendociinsieme 
il  vostro  nome  col  mio,  cosi  me  ne  risenti  sin'nelle  viscere, 
come  se  noi  ci  fossimo  1'  un  con  1'  altro  di  presente  abbrac- 
ciati  con  quel'  cordiale  affetto  d'  amore,  con  che  ci  solevano 
abbracciare ;  quando  Roma,  et  la  casa  d'  Agostin'  Chisi 
cotanto  ci  piacque  ;  che  ci  saremmo  cruciati  con  chi  ci 
havesse  detto,  che  pure  una  hora  non  rimarremo  senza. 
Ma  ne  gli  aggiramenti  del  mondo  anco  le  genti  si  aggirano. 
Onde  costui,  e  colui,  quelli,  e  questi,  costoro,  e  coloro  sono 
trasportati  da  le  sorte  de  i  casi  in  alcune  parti  ad  habitare, 
che  non  mai  pensarono  di  vedere.  Che  il  mio  cavaliere 
mille  volte  caro,  mille  volte  da  bene,  e  mille  volte  galante. 
Certo  che  sete  non  risuscitato,  nella  memoria  mia  ;  che  in 
vero  non  ci  moriste  mai ;  ma  ringiovanito  nel  modo  che 
vorrei,  che  ringiovanissimo  noi.  Ma  a  che  proposito  il 
dico,  se  nello  invecchiar  nostro  nella  etade  haviamo  sempre 
fanciulli  i  pensieri  ?  che  cosa  hanno  a  fare  le  virtu  de  le 
richezze,  se  ad  altro  non  son'  buone,  che  a  consumare  le 
menti  di  chi  le  possiede  con  la  miseria  de  1'  ansia,  che  meno 
ne  gode  quanto  piu  ne  ripone?  io  per  me  ho  speso  in  questa 

in  scudi  trentatre  d'oro  per  parte  della  taula,  come  apare  riceuta  di  sua 
mano. 
P.  218. 

XXXI. 

Altri  pagamenti  che  fa  detto  operaio  al  viedesimo  pittore  in  saldo 
della  tavola  predetta 

1543,  gennaio  8 — febbraio  i.     (A.  S.  R.  ivi,  ad  annum.) 

E  a  di  ditto  lire  dugentosetantasette,  soldi  dieci,  date  al  Cavalieri 
ditto  il  Soddoma  per  resto  della  taula  senza  1'  asurro  intramerino,  che 
r  abbiamo  rimissa  in  Messer  Antonio  Benucello. 

E  a  di  primo  di  ferraio  ditto  messer  Antonio  giudicb  che  li  dovessi 
dare  lire  quarantacinque  in  scudi  sei  d'oro,  che  non  li  voleva,  et 
tenevasi  mai  pagato. 


^  DOCUMENTS  337 

citta  un*  thesoro  si  fatto,  che  non  e  principe,  che  ritrovando- 
selo,  non  gli  paresse  haverne  assai.  E  se  bene  alcuno  me 
ne  riprende,  a  me  piu  rallegra  1'  animo  1*  esserne  suto  libe- 
rale  ;  che  non  fa  il  nome,  che  spero  lasciar'  di  me  a  i  secoli, 
che  verran  dopo  di  noi.  Si  che  viviamo  il  termine  da  Dio 
stabilitoci ;  ringratiandolo  in  tanto  del  dono  concessoci  da 
la  piet^  del  suo  conservarci  in  vita  ;  mentre  piu  de  i  conos- 
centi  nostri  ne  sono  iti  sotterra,  che  voi  non  havete  mosso 
colpi  di  pennello  e  io  tratti  di  penna,  da  che  siam'  diventati 
famosi  nell'  arte  del  pingere,  e  dello  scrivere  ;  ma  ben'ci 
dara  Christo  di  rivederci  anco  un'  giorno.  Del  che  sup- 
plico  la  bonta  di  lui,  che  cio  sia  tosto.  In  questo  mezzo 
attendiamo  a  visitarci  con  la  presentia  de  le  carte  e  se 
avviene,  che  ve  n'  andiate,  qual  mi  dite,  a  Piombino, 
basciate  la  mano  al  Signor'  suo  in  mia  vece.  Di  Agosto 
in  Venetia  MDXLV. 


No.  31. 

Inventory  of  Goods  left  on  his  Decease  by  GIOVANNI  ANTONIO 
Bazzi. 

Arch.  Not.  Prov.  Siena.     Rogiti  di  Ser  Luca  di 
Mariano  Salvini  d'  Asciano.    No.  2386.    Rep.  A,  Busta  941.^ 

1548-49.     14  di  Febbraio. 

Anno  Domini  1548.     Indict :   7,  die  vero  Jovis 
xiiij.  Februarij. 

Inventarium  bonorum  acceptorum  in  testamento  a 
domina  Beatrice  olim  filia  Luce  de  Gallis  sive  Corona,  et 
relicta  domini  Johannis  Antonii  Sodone,  pro  parte  suarum 
dotium,  et  vigore  sui  instrumenti  dotalis. 

Una  vigna  in  Curia  Archiepiscopatus  in  Comuni  Murli 
cum  domo,  casalone,  et  cellario  cum  omnibus  massaritiis, 
et  juribus, 

Piu  teste  et  antichaglie  et  cose  da  pitori  existenti  in  una 

^  In  the  margin  is  written,  Inventario  bonorum  di  /'•  Ant'-  Sodone. 

22 


338  APPENDIX 

stanzetta  di  suo  (sic)  casa :  6  cassette  con  colori  et  altre 
cose;  una credentia,  tre  sedie  di  legno ;  6  altre  casse ;  3  altre 
sedie,  due  2  di  legno,  et  una  di  stiancia  (sala)  nuove  ; 

2  spade. 

I  quadro  di  Leda  ;  una  Lucretia  :  i  tavoli  con  Chisto 
(sic)  che  porta  la  croce  ;  uno  quadro  con  S.  Tomme  ;  1 
Christo  in  resurrectione  :  i  quadro  con  Christo  in  appari- 
tione  a  la  Nostra  Donna  ;  un  ritracto  di  Pandolfo  Petrucci, 
I  tela  abbozata  con  Christo  morto,  2  cabbie  con  filo  di 
rame,  e  schannello  con  2  porfidi  con  quadri  di  pietre  miste  ; 

3  pezzi  di  marmi ;  i  teladi  paesetti ;  la  Nocte,  o  vero  fornace 
da  bichieri ;  i  tavola,  4  intarsiate,  i  scannello  vechio ;  3 
tele  di  paesi ;  i  Christo  alia  Colonna  ;  i  quadro  di  Nostra 
Donna  in  tela  ;  i  quadro  di  S.  Caterina,  di  legno ;  3  ritracti  ; 
I  quadro  con  cornice  intagliata  :  i  quadro  abozato  del 
Archivescovo  ;  i  predella  d'  altare  missa  a  oro  ;  i  pila  di 
macigno  ;  1  quadro  di  S.  Michelangelo ;  i  tela  longa  di 
tre  bracia  principiata  ;  2  ritractati  (sic)  la  Saracina,  e 
la  Toscana  ;  i  altra  credentia  ;  el  papagallo  con  cabbia  ;  i 
tavola  grande  di  bracia  6  in  7  d'  altare  con  ornamento,  di 
Nicolo  di  Bogino  ;  5  deschi  ;  4  pezzi  di  cornicioni  di  nocie  ; 
I  matarazo  ;  i  lecto  ;  4  lenzuola  ;  2  cuperte  ;  3  cucciette  ; 
la  madia ;  i  stanzetta  con  piu  legnami,  e  altre  bagaglie  di 
poca  valuta  ;  i  tavola  d'  altare  grande;  2  colonne  di  pietra; 

1  botte  nuova,  ferri  da  fuocho,  e  tavoletta  da  mangiare  ; 

2  tovaglie  ;   i  sciugamano  ;  piu  vasa  ; 

30  pezi  fra  teste  e  piei  ne  lo  studio  ;  31  vasi  picoli  e 
grandi ;   1  istoria  di  marmo  murata. 

I  quadretto  di  Christo  ;  piu  cose  turchesche. 

I  tondo  di  terra  con  istoria ;  4  pezi  di  mistio. 

Actum  Senis  in  Terzerio  Kamollie,  populo  Abbatie 
S.  Donati  in  domo  dicti  dom'im  yo/iannzs  A n^onn  Sodone 
coram,  etc.,  etc.,  et  presentibus  Julio  Andree  Cereario  e 
Mag°"  Augustino  Tome  Pometti  Muratore 

Ego  Lucas  Salvinus  notarius  rogavit  et  suscripsit. 


DOCUMENTS  559 

No.  32. 

Letter  from  P.  TrAP?OLINO  to  MESSER  ALESSANDRO  CORVINI. 
Lettere  PittoricJie  del  Mgr.  Giovanni  Bottari,  vol.  v.,  Lettera 
42/  p.  177.     (Mitano  :  Giovanni  Silvestri,  1822.) 

A  Messer  Alessandro  Corvini.^ 

Ho  scritto  un  ahra  volta  a  Roma,  e  non-  ho  scritto  a 
V.  S.  Questo  procede  che  non  aveva  ancor  fatto  niente, 
e  ancor  perche  1'  agente  del  Papa  mi  diede  troppa  prescia.^ 
Sono  stato  da  mastro  Riccio  il  quale  e  ammalato,  e  mostra 
d'  esser  un  gentil  par  suo.  Ho  visto  le  tegole,  che  in 
vero  sono  belle;  ma  piu  quella  del  Milone,  che  mi  par 
che  sia  un  Ercole,  perche  nello  spoglio  del  leone  e  fessa 
de  sommo  ad  imo,  ed  ha  guasto  un  capo  del  toro.  Ho- 
visto  la  testa  dal  S.  Giovanni,  la  quale  e  bellissima,  ma 
tarlata  assai.  Ho  parlato  del  prezzo.  Mi  disse  che  il 
Sodoma  suo  suocero  compro  la  testa  dal  S.  Giovanni  per 
10  scudi.  Credo  che  si  avrebbe  per  la  meta.  Delle 
tegole  mi  ha  detto  che  sono  della  dote  della  moglie  che 
fu  figlia  de  SodoTna  e  pero  sta  un'  po'  sulle  sua.  Son  ben 
informato  che  e  una  persona  da  benissimo,  e  che  si  puo 
sperar  da  lui  ogni  cortesia  e  ogni  discreto  partito. 

Mastro  Pierantonio  Barbiero  e  vivo,  ma  non  gli 
ho  parlato.  Conferiro  ogni  cosa  con  lui.  II  detto 
Mastro  Riccio  non  ha  il  Satiro,  che  non  si  trovo  alia 
morte  del  Sodoma.  Ne  ho  parlato  al  Mastro  Giuliano 
orefice,  il  quale  al  presente  si  trova  a  Siena.  Non  man- 
chero  di  far  cio  che  m'  ha  comandato  in  ogni  cosa,  ec. 
Essendo  andato  a  vedere  le  cose  del  Pastorino,  mi  sono 

'^  This  letter  is  also  to  be  found  in  Lettere  Facete,  ec,  di  diversi  uomini 
grandi,  ec,  raccolte  da  M.  Francesco  Turchi,  Vinegia,  1601,  lib.  2, 
lettera  14. 

^  In  a  letter  written  by  Cardinal  Bembo  from  Padua  dated  Jan.  28th, 
i533>  to  M.  Flaminio  Tomarazzo,  then  living  in  Bologna,  he  mentions 
a  certain  Messer  Niccolb  Trappolino,  calls  him  an  ancient  and 
learned  personage  {^persona  dotta  e  antica),  and  addresses  a  letter  to 
him  which  he  encloses  with  the  one  written  to  Tomarozzo. 

^  Prescia  is  a  Roman  word  and  means  hurry. 


340  APPENDIX 

tanto  innamorato  di  un  ritratto  di  piombo  d'  una  Tullia 
Tolomei,  che  e  troppo  gran  cosa,  in  fe  di  gentiluomo.  Or 
pensate  come  staro  quando  veda  le  vive,  se  quelle  che 
sono  senza  spirito  mi  fan  questo  ?  Vi  dico  ben  che  non 
ho  visto  il  piu  bel  profilo,  ne  altro  ritratto  di  donna  di 
Siena,  ne  quel  della  Valle,  ne  di  una  Perugina,  che  era 
innamorata  del  ...  la  quale  invero  e  bellissima,  ec,  ma 
questa  pero  avanza  tutti  gli  altri.  Oh  vedete,  se  io  son 
dolce  di  cuore. — State  sani,  ec. 
Di  Siena,  il  di  .  .   .  del  51. 

Servitor.  P.  Trappolino. 


PICTURES  BY  GIOVANNI  ANTONIO 
BAZZI,  CALLED  "  SODOMA." 

Note. — The  student  should  observe  that  the  author,  in  compiling 
these  lists  of  Paintings  and  Drawings,  has  in  great  part  allowed  himself 
to  be  guided  in  his  selection  by  the  consensus  of  opinion  among  his 
more  able  predecessors.  He  therefore  invites  attention  to  the  Notes 
appended  to  each  picture,  since  he  has  there  endeavoured  to  state 
briefly  the  sources  of  his  information.  Such  attention  is  specially 
important  in  the  case  of  the  Lists  of  Attributed  Pictures  atid  Drawings, 
in  which  many  works  are  included  which  are  certainly  not  by  Bazzi. 
Moreover,  it  should  be  further  remarked  that  in  certain  of  the  older 
sources  of  information  examined  when  preparing  this  study, — such  as, 
for  example,  the  MSS.  of  Romagnoli, — a  yet  larger  number  of  paintings, 
etc.,  are  attributed  to  Bazzi,  which  have  either  totally  disappeared,  cannot 
be  identified,  or,  in  a  few  cases,  are  so  obviously  incorrectly  christened, 
that  to  admit  them  would  needlessly  lengthen  this  work.  This  has 
been  done  to  forestall  criticism  in  view  of  the  absence  from  the  text  of 
all  comment  on,  and  consideration  of,  these  works. 

ITALY 
SIENA. 

Palazzo  Pubblico  (Sala  delle  Balestre). 
5".  Victor.     Fresco. 
S.  Ansano.     Fresco. 
The  Blessed  Bernardo  Tolomei.     Fresco. 

(Chapel.) 

The  Holy  Family  with  S.  Leonard.     Panel. 

Formerly  the  altarpiece  of  the  Chapel  of  S.  Calixtus 
in  the  Duomo.     Removed  thence  in  1681. 

(Sala  del  Sindaco.) 

The  Resurrection.     Fresco. 

One  of  the  soldiers  is  said  to  be  a  portrait  of  the 
artist  himself.     Moved  here  in  1842. 

341 


342  APPENDIX 

(Sala  del  Matrimonio.) 

Madonna  and  Child  with  SS.  Ansano  and  Galgano. 
Fresco. 
Painted  in  1537.    (See  Frizzoni,  Arte  del Rinasci- 
mento,  etc.,  p.  103.) 

(Sala  dei  Registri.) 

An  Eagle  with  two  Putti  supporting  Shields.    Fresco. 

Charmingly  executed  and  in  excellent  condition. 

Formerly  part  of  the  Resurrection.     (See  above, 

and  Siena  e  il  suo  Territorio,  p.   240.)     Moved  in 

1842. 

Chapel  in  the  Piazza  del  Campo. 

Madonna  and  Child  with  Saints.     Fresco. 

Very  badly  injured,  and  much  restored  by  Liborio 
Guerrini  in  1800.     Perhaps  by  others  since. 

Oratory  of  S.  Bernardino. 

The  Presentation  of  the  Virgin.     Fresco.     1518. 

The  Salutation  .         . 

The  Assumption        .  .  ,,  1532. 

The  Coronation         .         .  -       .  ,,  15 18. 

S.  Anthony  of  Padua 

S.  Francis  of  Assisi. 

S.  Louis  of  Toulouse 

Church  of  S.  Francesco. 

Putto  and  angels  over  the  Piscina  in  the  Sacristy. 
Fresco. 

Church  of  S.  Domenico  (Chapel  of  S.  Catherine  of 
Siena). 

The  Swoon  of  S.  Catherine.     Fresco. 

Her  Ecstasy         .         .         .  ,, 

S.  Catherine  prays  for  the  Soul  of  a  Crhninal.  Fresco. 

Figures  of  a  Pi'ophet  and  an  Evangelist  ,, 

(On  the  vault  of  the  chapel  arch.) 
J^he  decoration  of  the  arches. 


GENUINE    PICTURES  343 

(Chapel  of  the  Rosary.) 

God  the  Father,  with  Cherubim,  and  Saints  Catherine, 

Sigismund,  Dominick,  and  Sebastian.     Canvas. 

View  of  the  town  of  Siena  below.     In  the  centre  is 

set  an  ancient  painting  of  the  Madonna.     (See  Vasari, 

Op.  cit.,  p.  395  ;  Frizzoni,  Op.  cit.,  p.  163,  note.) 

(Sacristy.) 

The  Assumption.     Banner. 

Charming  colour.  View  of  Siena  below.  Much 
repainted.  Exhibited  at  La  Nostra  dell'  Arte 
Sacra,  Siena,  1904. 

House  of  S.  Catherine  (Lower  Chapel). 
Frieze  of  Putti.     Fresco. 

Over  the  altar  ;  below  a  painting  by  Pacchiarotto 
of  S.  Catherine  receiving  the  Stigmata. 

Accademia  delle  Belle  Arti. 
Room  VIII.  360.  Madonna  and  Child  with  two  Angels. 
Panel. 
,,         ,,       361.  Pieta.     Panel. 
,»         ,,       326.  Madonna  and  Child  with  two  Angels. 

Panel. 
„         ,,       327.    Two    Guild  Brothers  kneeling  before 
the  Cross.     Panel. 

Portions  of  a  bier,  formerly  belong- 
ing to  the  Compagnia  di  Fontegiusta. 
„         ,,       352.   Christ  bound  to  the  Column.     Fresco. 
Portion    of   a    larger   composition. 
Brought  from  the  Cloister  of  the  Con- 
vent of  S.  Francesco  in  Siena  in  1841. 
,,         ,,       354.  Judith.     Panel. 

Probably  part  of  a  set  of  pictures 
painted  for  the  Palace  of  Pandolfo 
Petrucci.  (See  Karl  Schuchhardt, 
Jahrbuch  der  Konig.  Preuss.  Sam., 
vol.  18,  1897.) 


344  APPENDIX 

Room  VIII.  358.   The  Adoration  of  the  Magi.     Small 

panel. 
Possibly    a    sketch    for    the    larger 
picture  in  S.  Agostino. 
M  X.  401.    The  Agony  in  the  Garden.     Fresco. 

»>  ,,443.    The  Descent  into  Limbo.  ,, 

These  two  frescoes,  with  a  third, 
now  at  S.  Eugenia,  Monistero  ( ViUa 
Griccioli\  were  removed  in  1842  from 
the  Chapel  of  the  suppressed  Com- 
pagnia  della  Croce.  They  were  painted 
in  side  niches.  Fragments  of  work  by 
the  artist's  pupils  still  remain  in  the 
desecrated  church  (now  the  Palestra 
Comunale). 
I*  ,,413.    The  Descent  from  the  Cross.     Panel. 

On  the  predella  5  Scenes  from  the 
Passion.  Formerly  the  altarpiece  in 
the  Cinuzzi  Chapel  at  S.  Francesco 
in  Siena.  Removed  after  the  fire  in 
August  1655,  it  was  taken  to  the 
Picture  Gallery  in  1862.  Restored 
by  Giuseppe  Collignon,  1829.  (See 
Romagnoli,  Biografia  etc.,  MS)  The 
smaller  scenes  are  by  a  pupil :  perhaps 
Vincenzo  Tamagni  or  Michel  Angelo 
Anselmi. 
,,  XI.  512.   The  Nativity.     Tondo,  panel. 

Removed  from  the  Eremo  at  Lec- 
cetto.     Padre  de  Angelis  in  his  Raggu- 
aglio  del  nuovo  Istituto  delle  Belle  Arti 
(18 16)  suggests  that  he  sees   in    the 
angel  here  a  portrait  of  Bazzi  himself, 
as  a  youth. 
Church  of  S.  Agostino  (Piccolomini  Chapel). 
The  Adoration  of  the  Magi.     Panel. 
The  head  between  the  trees,  praised  by  Vasari,  ig 


GENUINE    PICTURES  345 

said  to  be  a  portrait  of  the  painter  himself.  Painted 
for  the  Arduini  family,  and  paid  for  in  1536.  (See 
Frizzoni,  Op.  cit.,  p.  152  ;  Langton  Douglas,  History 
of  Siena,  p.  404.) 

Church  of  the  Carmine  (Chapel  of  the  Sacrament). 
The  Nativity  of  the  Virgin.     Panel. 

Genuine  but  much  darkened.  Exhibited  as  above. 
Attributed  then  to  Giomnio  (sic)  del  Sodoma. 

Church  of  S.  Spirito  (Spanish  Chapel). 

The  Virgin,  accompanied  by  SS.  Lucy  and  Cecilia  and 

two  angels,  is  placing  the  habit  of  a  bishop  over 

the  head  of  S.  Alfonso.     Below  are  ^vS*.  Michael 

and  Nicholas  of  Tolentino.    On  either  side  of  these 

SS.  Sebastian  and  Anthony  the  Abbot.     Above, 

S.  James  on  horseback  tramples  on  the  Saracens. 

Painted  1 530.    The  lower  lunette  and  6"5'.  Michael 

and  Nicholas  are  on  panel.     The  rest  is  in  fresco. 

The  horse  of  S.  James  greatly  pleased  the  Emperor 

Charles  V.,  who  is  said  to  have  bestowed  the  title  of 

Count  Palatine  on  the  artist  in  consequence.     This 

fresco  was  injured  in  the  earthquake  of  1798  and 

restored  in  1800  by  Liborio  Guerrini.     (See  Romag- 

noli.  Op.  cit.)    Original  designs  for  this  chapel  are 

to  be  found  in  the  Uffizi,  Florence,  and  in  the  Becke- 

rath  Coll.,  Berlin. 

Church  of  S.  Giacomo  (Contrada  della  Torre). 
Christ  bearing  His  Cross.     Panel. 

Fifteen  life-size  figures.  Formerly  an  altarpiece 
in  the  church  of  the  Compagnia  della  Croce. 
Removed  in  1842.  Much  darkened.  Supposed  to 
have  been  his  last  work.  (See  Frizzoni,  Op.  cit.,  p.  1 80.) 
Exhibited  as  above,  1904,  as  ''  Maniera  del  Sodoma.'' 

Church  of  S.  Maria  sotto  le  Volte  dello  Spedale. 
The  Holy  Family.     Panel. 

Fine     painting,    but    restored.      Given    to    the 


346  APPENDIX 

Confraternity  on  November  27th,  1672,  by  Fedro 
Cinuzzi.  (See  Romagnoli,  Op.  cit.)  Exhibited  as 
above,  1904. 

Porta  Pispini. 

Tke  Adoration  of  the  Shepherds.     Fresco. 

Magnificent  work,  but  dreadfully  injured.  Partially 
restored  in  1899. 

Casa  Bambagini  Galletti  (Via  di  Stalloreggi). 
Pieta.     Fresco. 

Commonly  called  the  Madonna  del  Corvo.  Much 
injured.  Glass  washed  and  repaired  February  1900. 
Design  for  this  in  the  Uffizi. 

Piazza  Tolomei. 

The  Holy  Family  with  SS.  John,  Francis,  Roch, 
and  Crispin.     Fresco. 
Commonly  called  Madonna  de  Calzolari.     Com- 
pletely ruined  by  smoke  and  time. 

Church  of  S.  Michele  (formerly  L'Abbadia  Nuova 

or  St.  Donato). 
Two  paintings  of  the  Holy  Trinity. 
Pieta. 
La  Madonna  Protettrice.     Four  panels  for  a  bier. 

Fine,  but  unequal.  The  two  first  probably  the 
work  of  pupils  or  assistants.  Exhibited  as  above, 
1904. 

Confraternity  of  SS.  Giovannino  and  Gennaro. 
Madonna. 

S.  John  the  Baptist. 
Pieta. 
S.  Bernardino. 

Panels  for  a  bier.    (See  Frizzoni,  Op.  cit.,  p.  164.) 

Villa  Griccioli,  Monistero  (Chapel). 
The  Way  of  the  Cross. 

Much  restored.     (See  above,  p.  344.) 


GENUINE    PICTURES  347 

Villa  Nerucci,  Monistero  (Chapel). 
The  Nativity  of  the  Virgin.     Panel. 

Dated  1 540.  Resembles  in  details  the  Marriage 
of  Alexander  and  Roxana  (Villa  Farnesina,  Rome). 
Much  restored,  and  cruelly  over-painted  and  var- 
nished. Restored  by  Giuseppe  Collignon  in  1820. 
(See  Romagnoli,  Op.cit. ;  Delia  Valle, Z^//^r^  Sanest, 
vol.  iii.  p.  269;  and  Frizzoni,  Op.  cit.,  p.  175.) 

IN  THE  SIENESE  DISTRICT. 

SiNALUNGA,    COLLEGIATA. 

Madonna  and  Child  enthroned  ivith  SS.  Sebastian, 
Roch,  and  Anthony  the  Abbot.     Panel. 
A  very   large   painting.       Much    restored.     (See 
Frizzoni,  Op.  cit.,  p.  168.) 

MONTEPULCIANO,  PiCTURE  GaLLERY. 

The  Holy  Family.     Panel. 
Beautiful  picture,  but  injured. 

Montalcino. 

The  Banner  of  the  Republic. 

Exhibited  as  above,  1904.  Terribly  injured  and 
added  to  later  by  an  inferior  hand. 

Convent  of  S.  Anna  in  Creta,  Pienza  (Refectory). 
The  Miracle  of  the  Loaves  and  Fishes.     Fresco. 

(End  wall.)  In  three  parts.  Centre  part  in  good 
condition.  Right-hand  portion  much  injured  by 
damp  ;  left-hand  by  restoration. 

Circular  portraits  of  male  and  female  Saints  of  the 
Olivetan  Order.  Fresco. 
(Wall  on  the  left.)  Divided  by  scenes  from  the 
Life  of  the  Virgin  in  monochrome.  Much  injured 
in  parts.  Two  or  three  of  the  portraits  and  some  of 
the  scenes  are  still  in  fair  condition.  (Wall  on  right.) 
Similar  frieze,  practically  destroyed. 


348  APPENDIX 

Pieta.     Fresco. 

(Entrance  wall.     Over  the  door.)     In  good  con- 
dition.    Note  Umbrian  characteristics. 
Madonna  and  Child  with  S.  Anne  and  two  Olive  tan 
Monks.     Fresco. 

(On  the  left  hand  of  door.)     Very  much  damaged 
by  damp.     The  Holy  Child's  face  quite  obliterated. 
There  is  a  free  copy  of  this  work  in  the  church  by 
an  inferior  hand. 
A  Bishop  with  six  Olivetan  Monks.      Fresco. 

(On  the  right.)     Fair  condition. 
Head  of  Christ.     Fresco. 

(In  the  arch  over  the  door.)  In  good  condition, 
but  the  surrounding  decoration  has  almost  entirely 
disappeared. 

Convent  of  Monte  Oliveto  Maggiore,  near  Chiu- 
suRi  (Cloister).    Frescoes. 

1 .  S.  Benedict  leaves  home  for  school  in  Rome. 

2.  S.  Benedict  abandons  the  school. 

3.  S.  Benedict  mends  the  Broken  Cribble. 

4.  S.  Benedict  receives  the  Hermit's  Habit. 

5.  The  devil  breaks  the  Bell  attached  to  a  basket^ 

which  a  hermit  is  letting  down  to  S.  Benedict. 

6.  A  priest  inspired  by  God  takes  his  Easter  meal 

to  S.  Benedict. 

7.  S.  Benedict  preaches  the  Gospel  to  the  Shepherds} 

8.  The  Temptation  of  S.  Benedict. 

9.  Some  hermits  invite  S.  Benedict  to  become  their 

Superior. 

10.  The  attempt  to  poison  S.  Benedict. 

11.  5.  Benedict   completes    the    building  of  twelve 

monasteries. 

12.  S.    Benedict    receives   the   two   Roman   youths^ 

Maurus  and  Placidus. 

1  A  drawing  for  this  (formerly  attributed  to  Timoteo  Viti)  is  in  the 
UffiziColl.,  No.  1357.  ~ 


GENUINE    PICTURES  349 

1 3.  S.  Benedict  exorcises  a  devil  from  a  monk. 

14.  S.  Benedict  produces  water  from  a  rock. 

15.  The  Miracle  of  the  Hatchet. 

16.  S.  Maurus  saves  the  life  of  S.  Placidus. 

17.  The  Theft  of  Bread  and  Wine. 

18.  The  wicked  m^onk  Fiorenzo  makes  another  attempt 

to  poison  S.  Benedict. 

1 9.  Fiorenzo  introduces  loose  women  into  the  convent. 

20.  5".  Benedict  foretells  the   destruction  of  Monte 

Cassino. 

21.  S.  Benedict  obtains  flour  in  abundance  and  restores 

the  Monks. 

22.  S.  Benedict  appears  to  two  monks  when  away 

from  home  a^id  gives  them  directions  as  to  the 
construction  of  a  monastery. 

23.  S.  Benedict  having  excommuiticated  two  ituns, 

absolves  thetn  after  their  death. 

24.  S.   Benedict  carries  the   Host    to   the   body   of 

a   sinful  monk,  whom  the   earth  refused  to 
receive. 

25.  5".  Benedict  pardons  a  monk,   who,   wishing  to 

escape  from  the  convent,  finds  a  serpent  in  his 
path. 

26.  5".  Benedict  sets  free  a  peasant  who  had  been  bound 

by  marauders. 
S.  Benedict  founding  his  Order. 

(Cut  in  half  and  very  much  injured  by  the  insertion 
of  a  door  leading  into  the  church.) 
Christ  at  the  Column. 
Christ  bearing  His  Cross. 

(These  two  are  on  either  side  of  an  arch  leading 
from  the  cloister.) 

(On  the  stairs)  The  Coronation  of  the  Virgin. 
Much  restored. 

(In  the  Superior's  reception-room.  Near  the 
ceiling)  Head  of  the  Madonna.  Charming 
fragment. 


350  APPENDIX 

Castello  di  Trequanda  (Church  of  Collegiata). 
The  Ascension.     Fresco. 

Cruelly  injured.  (See  Frizzoni,  6^.«V.,pp.  168-9, 
note  2.) 

San    Gimignano    (Loggia     of    the     Palazzo     del 

PodestA). 
Madonna  with  Saints.     Fresco. 

Little  remains  except  the  cherubs  supporting  a 
curtain  at  the  top  of  the  picture.  (See  Frizzoni, 
Op.  cit.,  p.  136.) 

Palazzo  Comunale  (Cappella  del  Pretore). 
►S.  Ivo  doing  justice.     Fresco. 

Monochrome.  Arabesque  border  decoration. 
Injured. 

ROME. 

Vatican  (Camera  della  Segnatura). 

Ceiling  decoration.     Surrounding  tondi  by  Raphael. 
Villa  Farnesina  (Bedroom). 

The  Marriage  of  Alexander  and  Roxana.     Fresco. 

The  Family  of  Darius  before  Alexander.  ,, 

The  Forge  of  Vulcan.  ,, 

Alexander  and  Bucephalus.  ,, 

This  last  painting  has  been   so   much   repainted 

that  it  no  longer  shows  any  trace  of  Bazzi's  work. 

Has  been  attributed  to  Vasari. 

Palazzo  Spada. 

5*.  Christopher.      Panel. 

(On  the  back.)  5".  Luke,  in  monochrome.  (See 
Frizzoni,  Op.  cit.,  p.  144.) 

Palazzo  Chigi. 

The   Rape  of  the   Sabines,   or  the   Punishment  of 
Rhea  Silvia  {?).     Panel. 
Undoubtedly  by   Bazzi,   though  attributed  to  B. 


GENUINE    PICTURES  351 

Peruzzi.     (See  Frizzoni,  Archivio  Storico  del  Arte, 
p.  30;  also  Op.  cit.,  p.  144.) 

[This  is  most  probably  the  picture  mentioned  in  no 
less  than  seven  copies  of  a  list  of  pictures  once 
belonging  to  the  father  of  Abate  Galgano  Ciaccheri 
and  valued  at  100  scudi.  Bib.  Com.  Siena, 
D.  VII.  21,  pp.  305-18.] 

Villa  Malta,  Coll.  of  Count  Bobrinsky. 
Allegorical  Group  ;  perhaps  a  Char  it  as. 

Tondo,  with  a  beautiful  border  of  arabesques. 
Formerly  in  the  Palazzo  Chigi-Zondadari  in  Siena. 
Attributed  by  some  authorities  to  B.  Peruzzi. 

Palazzo  Borghese. 

No.  459.    The  Holy  Family. 

Very  beautiful. 
No.  462.  Pietd. 
Darkened  by  time. 

FLORENCE. 

Uffizi  Gallery. 

No.  1279.  S.  Sebastian. 

(On  the  back).     Madonna  with  SS.  Roch  and  Sigis- 
mund  and  Guild  Brethren  {Flagellants^.  Canvas. 

Formerly  a  banner  of  the  Confraternity  of  S. 
Sebastiano  in  Camollia  at  Siena.  Painted  in  1525. 
Finished  by  Beccafumi.  (See  Romagnoli,  Op.  cit., 
and  Milanesi  MSS.) 

No.  282.  Portrait  of  the  Painter  himself. 
No.  156.  Ecce  Homo. 

This  picture  and  that  of  a  similar  subject  in  the 
Palazzo  Pitti  are  practically  replicas. 

Palazzo  Pitti. 

Room  XI.  Portrait  of  a  man. 
Ecce  Homo. 


352  APPENDIX 

Convent  of  Monte  Oliveto.     (Former  Refectory.) 
The  Last  Supper.     Fresco. 

Much  damaged  fragment      Fine  heads. 

PISA. 
Cathedral. 

The  Sacrifice  of  Abraham.     Canvas. 
The  Entombment.  ,, 

These  pictures   were   restored   in   February  and 
March,  1893.   {SeQ  Archivio  Storico  del f  Arte,  1893.) 

MusEo  Civico.     (Suppressed  Convent  of  S.  Fran- 
cesco.) 
Room  VII.  No.  28.     Madonna  and  Saints.     Canvas. 
1542.     Formerly  in  the  church  of  S.  Maria  della 
Spina.     (As  to  this  picture  and  suggested  portrait  of 
the  artist  therein,  see  Frizzoni,  Op.  cit.,  p.  177.) 

VOLTERRA. 

Palazzo  Ricciarelli. 

The  Marriage  of  S.  Catherine. 

Attributed  by  its  owners  to  Daniele  da  Vol  terra, 
but  said  by  Frizzoni  to  be  of  Bazzi's  best  period. 

NAPLES. 

Museum. 

Room  II.  No.   5.  (Tuscan  School.)      The  Resurrec- 
tion.    Panel.     9  ft.  3  in.  X  6  ft.  8  in. 
On  label  below  "  lo.  Ant.  Eques.  Ve.  Auct.  F.  A. 
1535-"      (See    Gio.    Batt.    Pacichelli,   //  Regno  di 
Napoli  in  Prospettiva,  vol.  i.,  p.  52.) 

VENICE. 

Palazzo  Cappello  (Layard). 
The  Holy  Family. 

Poor.     (See  Frizzoni,  Op.  cit.,  p.  158,  note.) 


GENUINE    PICTURES  353 

BERGAMO. 
Galleria  Morelli. 
No.  60.     Madonna. 

Poor  picture. 
No.  83.     Fantastic  portrait  of  a  man.     Canvas. 

Has  been  likened  by  Morelli  to  the  work  of  Franz 
Hals  {^Della  Pittura  Italiana,  p.  r52). 

REGGIO   D'EMILIA. 

Church  of  S.  Prospero. 

S.  Homobonus  giving  alms.  Panel  2*20  m.  by 
170  m. 
(See  Frizzoni,  Archivio  Storico  dell'  Arte ,  1895, 
p.  224,  and  Op.  cit.,  p.  152,  note.  Attributed  to  Ber- 
nardino Zacchetti  by  Venturi.  L'Arte,  September 
— October,  1901,  fasc.  ix.,  x.) 

BOLOGNA. 

Coll.  of  Contessa  Zucchini  Solimei. 

Christ  appearing  to  His  Mother  after  His  Resur- 
rection.    Panel  22  x  35  in. 
Much  repainted,  but  probably  genuine. 
(It  should  be  observed  that  among  the  paintings 
recorded  in  the  Inventory  of  goods  left  at   Bazzi's 
death,  mention  is  made  of  a  picture  of  this  subject.) 

TURIN. 

Picture  Gallery. 

No.  50.     The  Holy  Family. 

Resembles  similar  subject   in  the   Pinakothek   at 
Munich.     [Se^post,  p.  356.) 
No.  55.     Madonna  and  Saints. 

Once  the  altarpiece  in  a  church  at  Colle  di  Val 
d'  Elsa. 

No.  376.     Lucretia. 

Formerly  (until  i860)  attributed  to  Giampetrino. 
(See  Morelli,  Op.  cit.,  p.  155,  note.) 

23 


354  APPENDIX 

VERCELLI. 

Coll.  of  Cav.  Aw.  Antonio  Borgogna. 

The  Holy   Family,    little   S.  John  and  an  Angel. 

Tondo. 

Formerly  in  the  Palazzo  Scarpa  at  Motta  di  Livenza, 

and  there  attributed  to  Cesare  da  Sesto.     Bought  for 

1 1, GOO  fr.  at  the  Scarpa  Sale  in  Milan,  November 

1895. 

MILAN. 

Brera  Gallery. 

Room  XIV.  No.  299.  Madonna  and  Child  with 
a  Lamb. 
Bought  in  Cologne  at  the  Sale  of  Baron  van  der 
Ropp,  by  Herr  Habich  of  Cassel.  Said  to  have  been 
once  in  the  Borghese  Collection  in  Rome.  It  was 
formerly  attributed  to  Leonardo,  but  was  recognised 
by  Morelli  as  by  Bazzi  from  a  poor  photograph. 
Sold  by  Herr  Habich  to  the  Brera  in  1891  for 
8500  frs. 

Coll.  of  Dr.  G.  Frizzonl 
Penitent  Magdalen. 
Fragment  of  a  Madonna  and  Child. 

Coll.  of  M''''  Ginhouliac. 
Madonna  and  Child. 

Very  beautiful,  but  unusual. 

Coll.  of  Sig.  Silvestri. 
The  Holy  Family. 
Good  picture,  but  injured. 

MusEo  Civico  (Castello  Sforzesco). 

S.  Michael.     Panel  4  ft.  i  in.  x  2  ft.  9  in. 

Legacy  from  Count  Bolognini.   (SeeC.  J.  Ffoulkes, 
Archivio  Storico  dellArte,  1894,  p.  255.) 


GENUINE    PICTURES  355 

MUSEO  POLDI  PeZZOLI. 

The  Virgin  and  Child  with  SS.  John  the  Baptist 
and  Catherine  of  Siena.  Tondo. 
Exhibited  (No.  171,  ist  Room)  at  the  Mostra 
dell'Arte  Sacra  at  Pistoia  in  1899,  under  the  attribu- 
tion of  "  Scuola  Toscana  del  Secolo  XVI."  Early 
work.  Attributed  to  Bazzi  by  Frizzoni  and  Jacobsen, 
but  to  Riccio  by  Berenson.  Much  injured.  (See 
L!  Arte,  Sept.,  Oct.,  1901,  fasc.  ix.,  x.,  p.  353.) 

Church  of  S.  Tomaso. 

Dead  Christ  supported  by  the  Virgin  and  adored  by 
the  Magdalen. 
Very  much  darkened,  and  hung  in  a  corner  of  the 
Sacristy.     Large  picture. 

ARCORE,  NEAR  Milan. 
ViTTADiNi  Coll. 
The  Holy  Family. 
Late  Sienese  manner. 

GENOA. 

Palazzo  Bianco. 

Madonna  and  Child  with  S.  John. 

Much  injured  by  restoration.  Resembles  Gin- 
houliac  picture  above.  Legacy  of  Prince  Oddo  of 
Savoy. 

OTHER   CONTINENTAL  COLLECTIONS 

VIENNA. 

Picture  Gallery. 

No.  51.   The  Holy  Family  with  little  S.  John. 

Small  half-figures.  Formerly  in  the  Collection  of 
Prince  Eugene  of  Savoy. 


356  APPENDIX 

MUNICH. 

Alt  Pinakothek. 

No.  282.    The  Holy  Family. 

Almost    identical   with  a  painting    in    the   Royal 
Picture  Gallery,  Turin.     (See  above,  p.  353.) 

BERLIN. 

Royal  Museum. 
No.  109.   Charitas. 

Attributed  by  some  critics  to  B.  Peruzzi. 

FRANKFORT-AM-MAIN. 

Stadel  Art  Institute. 

No.  42.  Portrait  of  a  Lady. 

Attributed  variously  to  Paris  Bordone  and  Sebastian 
del  Piombo  ;  by  Dr.  Bode  to  Jan  Scorel  {Repertortum 
fur  Kunstwissenschafty  1889,  Band  xii.,  Heft  i., 
p.  76);  by  Burckhardt  {Cicerone)  to  Dosso  Dossi;  now 
attributed  by  Dr.  H.  Weizsacker  to  Parmigianino. 
(See  Frizzoni,  Op.  cit.,  p.  123,  Morelli,  Op.cit.,  p.  155 
and  note,  and  Cat.  of  Stadel  Gallery.)  Bought 
in  Frankfort  from  the  Coll.  of  King  William  II.  of 
Holland.  Very  beautiful,  and  undoubtedly  by  Bazzi. 
Possibly  a  portrait  of  one  of  the  Spannocchi. 

HANOVER. 

Public  Gallery  (Kestner  Coll.). 

No.  35.  Lucretia  Romana.     (See  Frizzoni,  Op.  cit., 
and  Schuchhardt,  Op.  cit.) 

Cumberland  Gallery. 

No,    19.      The   Holy  Fainily  with  SS.  Joseph  and 
Bernardino  of  Siena. 
Much  repainted.     Probably  a  late  work. 


GENUINE    PICTURES  357 

HAMBURG. 
Weber  Gallery. 

No.  99.  Lucretia  with  bearded  man  and  youth  stand- 
ing behind  her.     Panel  71 J  X  61  cms. 
Acquired  in  1885  from  the  Habich  Coll.  at  Cassel. 
(See  Fritz  Harck,  Archivio  Storico  dell'  Arte,  1891, 
iv.  p.  84.) 

STRASBURG. 
Picture  Gallery. 

The  Holy  Family  seated  under  a  tree. 

Badly  retouched.  (See  C.  Loeser,  Archivio  Storico 
deir  Arte,  1896,  p.  283.) 

TRIER. 

Madonna  Enthroned. 

(See  Allgemeines  Kunstlerlexicon,  vol.  iii.  p.  327. 
Frankfurt  a/M.  :     Rutten  &  Loening,  1882.) 

BUDA-PESTH. 

Academy. 

No.  1230.   The  Kiss  of  Judas. 
No.  1 23 1.    The  Way  of  the  Cross. 

The  Flagellation.     (Not  exhibited.) 
Parts  of  a  predella. 

CHAM  BE  RY  (Chateau  de  Beauregard). 
Coll.  of  Count  Costa  de  Beauregard. 
Christ  bearing  His  Cross.    Panel. 

Fragment.  Early  manner.  (See  Bruzza,  Notizie, 
etc.,  p.  27  et  seg.) 

STOCKHOLM. 

Royal  Picture  Gallery. 
Pieta.     Panel  35  x  24  in. 

Repainted  and  discoloured.  Resembles  the 
Frizzoni  Magdalen.  Bought  from  Count  Enrico 
Costa,  Florence,  1904. 


358  APPENDIX 

BRUSSELS. 
Coll.  of  M.  le  Baron  Leon  de  Somzee.     (Dispersed 
1904.) 
Pietct.    Dark  in  colour.     Signed,  ''  Ex pietate  Ber.'' 
Bought   in   1876  from  the  Coll.   Marcille  (Paris) 
for  5200  frs.     Engraved  by  Chapon.      Bought   by 
Due  d'Aremberg  for  ^300.    Sale  Catalogue,  No.  446. 
Leda  and  the  Swan.     (Not  included  in  the  Sale.) 

Bought  from  the  same  collection  as  the  above  for 
500  frs. 

GREAT   BRITAIN 
BERKSHIRE. 

LocKiNGE  Park,  Coll.  of  Lady  Wantage. 

Madonna  and  Child  with  Infant  S.  John.     Tondo. 
Grey  tones. 

BuscoT    Park,    Coll.   of   Alexander    Henderson, 
Esq.,  M.P. 
The    Virgin  and  Child,  SS.  John  the  Baptist  and 
Francis,  Tobias  and  the  Angel  Raphael.    2  ft.  x 
2  ft.  6  in. 
Bought  from   Messrs.    Agnew,   who    obtained  it 
from  Florence. 

CHESHIRE. 

High  Legh,  Coll.  of  the  late  Col.   H.  Cornwall 
Legh. 
The  Holy  Family,  S.  Elizabeth,  and  S.  John.  Tondo. 
Early   work.      Exhibited   Burlington    Fine  Arts 
Club,  1898. 

LONDON. 

Dorchester  House,  Coll.  of  Captain  Holford. 
The  Nativity.     Tondo.     42  in.  diam. 

Formerly  in  the  Palazzo  Chigi-Zondadari  in 
Siena.  Exhibited  at  Burlington  House  (Old  Masters), 
1886,  and  Burlington  Fine  Arts  Club,  1898. 


GENUINE    PICTURES  359 

Grosvenor  House,  Coll.  of  Duke  of  Westminster. 
The  Holy  Family. 

Pleasing  composition.  Much  darkened  and  over- 
varnished.  (Not  catalogued.)  Mentioned  by 
Woltmann  and  Woermann,  vol.  ii.  book  iv.  part  ii. 
p.  684. 

Melbury  Road,  Coll.  of  W.  Holman  Hunt,  Esq. 
The  Holy  Family. 

Cartoon  washed  with  oils. 

Surrey  House,  Coll.  of  Lord  Battersea. 
Madonna  and  Child. 

Attributed  to  Leonardo  da  Vinci.  The  original 
drawing  by  Leonardo  for  this  composition  is  in  the 
Uffizi,  and  replicas  of  the  same  subject  abound. 
Cf.  Palazzo  Borghese,  Rome ;  Palazzo  Borromeo, 
Milan  ;  Montagu  House,  Whitehall  ;  and  Christ 
Church,  Oxford,  Collections. 

65,    Great   Portland   Street,   Coll.  of   Mr.  J.  R. 
Saunders. 
S.  Jerome  in  the  Desert. 

A  fine  picture.  Best  period.  (See  Cust,  Rassegna 
dArte,  July  1905.) 

Coll.  of  Dr.  J.  P.  Richter. 

Dead  Christ  supported  by  Two  Angels. 

Bought  in  Venice  by  its  present  owner.  Exhibited 
at  the  Exhibition  of  Italian  Art,  New  Gallery,  London, 
1894,   No.   167.     (See  Archivio  Storico  deW  Arte, 

1894.  p.  255-) 

Madonna  suckling  her  Infant.     26J  x  \g,\  in. 

Most  probably  the  long-lost  picture  from  S. 
Francesco  at  Siena.  (See  Delia  Valle,  Op.  cit.y 
vol.  iii.  p.  255.)  Exhibited  at  Burlington  Housq 
^Old  Masters),   1904,   No.  39. 


36o  APPENDIX 

20,  Avenue  Road,  Regent's  Park,  Coll.  of  Dr.  L. 

MOND. 

S.  Jerome  in  the  Desert.     Panel,  55   x   44111. 

This  picture  was  bought  at  the  Monte  di  Pieta  in 
Rome  by  Morelli,  from  whose  Collection  it  came 
into  the  hands  of  the  present  owner.  (See  Archivio 
Storico  deir  Arte,  1894,  p.  255.)  Exhibited  at 
Burlington  House  (Old  Masters)  in  1891,  and  at  the 
New  Gallery,  1893-4,  No.  201. 

Madonna  and  Child.     Oval  panel,  2  7-J  x  21  in. 
Exhibited  at  the  New  Gallery,  as  above,  No.  225. 

National  Gallery. 

No.   1 144.  Madonna  with  Saints.    Panel   i   ft.   7  in. 
X   I  ft.  2  J  in. 
Formerly  in  the  Rosini  Collection  at  Pisa.      Pur- 
chased   in    Florence    in    1883    by   Mr.    C.    Fairfax 
Murray.      Minor  work. 

No.  1337.  Head  of  our  Lord.  Canvas  i  ft.  2|-  in. 
X  I  ijin. 
Purchased  in  1891  from  Herr  Habich,  of  Cassel. 
The  Figure  of  the  Holy  Child  (in  The  Circumcision, 
of  Luca  Signorelli,  No.  11 28).  Painted  for  the 
Convent  of  S.  Francesco  at  Volterra.  Bought  at 
the  Hamilton  Palace  Sale,  in  1882,  for  ^3150. 
Exhibited  at  Burlington  House  (Old  Masters),  1873. 

MONMOUTHSHIRE. 

Hardw^ick  Court,  Chepstow,  Coll.  of  E.  Hartland, 
Esq. 
The  Nativity.     Panel  38  x  46 J  in. 

Bought  in  Florence  in  1875  from  Mr.  Jarvis, 
who  procured  it  from  a  private  chapel  at  S.  Sepolcro, 
near  Arezzo.     In  fine  condition, 


GENUINE    PICTURES  361 

SURREY. 

Doughty  House,  Richmond,  Coll.  of  Sir  Frederick 
Cook. 
S.  George  and  the  Dragon. 

Bought  from  the  late  Earl  of  Shrewsbury,  who 
purchased  it  from  the  Public  Gallery  in  Siena  (?). 
Exquisite  colour.  Exhibited  at  the  Burlington  Fine 
Arts  Club,  1898. 

WILTSHIRE. 

CoRSHAM     Court,     Chippenham,     Coll.    of     Lord 
Methuen. 
Ecce  Homo.     Panel  26  x    i8f  in. 

Figure  nearly  life-size.   From  the  Rev.  J.  Sanford's 
Coll. 

SCOTLAND. 

GosFORD  House,  Coll.  of  Earl  of  Wemyss. 
The  Holy  Family.     Tondo.     33  in.  diam. 

Exhibited  at  Burlington  House,  1886.     No.  207. 


DRAWINGS    BY    GIOVANNI    ANTONIO 
BAZZI,    CALLED    *  SODOMA " 

SIENA. 

ACCADEMIA  DELLE   BeLLE  ArTI. 

No.  81.  Sketch  for  the  Head  of  the  Moor  in  the 

Adoration  of  the  Magi  (S.  Agostino,  Siena). 

Red  chalk,      iif  X  9  in. 

Large  sketch,  much  injured  by  worms.  The  Moor 

here  has  no  beard  as  in  finished  picture.     Upon  the 

back  is  written  Comite  Faustino  E.G. — Spagnuolo 

mio — Cniato    (perhaps    cognato).      The   paper   has 

been   folded   like  a  letter.     Exhibited   Mostra  dell' 

Arte  Antica,  Siena,  1904. 

No.  84.  Study  for  the  Cappella  di Piazza  fresco.    Red 
chalk.     94  X  7  in. 
Good  drawing  in  fair  condition.      Formerly  in  the 
Coll.  of  Abate  Ciaccheri.     (See  Romagnoli.)     Ex- 
hibited as  above,  Siena,  1904. 

No,  91.   Study  for  the  upper  portion  of  the  Descent 
from   the   Cross.       Pen    and   ink   washed   with 
sepia.     9f  x  7-J  in. 
Spirited  drawing.  Variation  in   figure  behind  the 
Cross. 

Drawings   from   the   Spannocchi    Collection   ex- 
hibited AS  ABOVE,   1904. 

No.  94.  Head  of  a  Saint.     Pencil.     28  X  20  in, 
Called  in  Catalogue  "^  Christ.'' 


Photo :  H.  Burton, 


HEAD   OF  THE   MOORISH   KING. 
STUDV   FOR   "THE  ADORATION  OF  THE  MAGI.' 

S.   AGOSTINO,    SIENA. 


To/dce  f>    362, 


GENUINE    DRAWINGS  363 

No.  63.  Madonna  and  Childy  Moors  head,  and 
two  designs  for  hand  with  cup.  Red  chalk. 
28  X  20  in.  Studies  for  S.  Agostino  altar-piece 
(see  above). 

No.  90.  ^twAy  {ox  S.  Jerome.     Pencil.     28  X  20  in. 

No.  91.  Study  for  S.Jerome.     Pencil.     28  x  20  in. 

FLORENCE. 

Uffizi. 

Case  243.   No.  43.    Two  studies  from  the  statues  of 

Rhea  Silvia  and  Acca  Laurentia  by  Giacomo 

della  Quercia  on  the  Fonte  Gaia  at  Siena.     Pen, 

ink,  and  wash. 
Attributed  to  Quercia,  but  much  more  probably 
by  Bazzi. 
Case  344.  No.  1934^.     Portrait  of  a  man.     Pencil. 

Possibly  himself 
Case    344.    No.     1939^.      Study    for    5".     Vittorio, 

Palazzo  Comunale,  Siena.     Pencil. 
Case  343.  No.  1479.   Study  for  Marriage  of  Alex- 
ander and  Roxana.     Pen  and  ink. 
Formerly  attributed  to  Raphael. 
Case  343.  No.  1506.   Miscellaneous  fragments.     Pen 

and  ink. 
Case  343.   No,  1935^.      Two  men  in  armour  asleep. 

Red    chalk.       Perhaps    sleeping   guards    for   a 

Resurrection. 
Case  343.  No.  564.  Small  Architectural  Design. 

For  the  decoration  of  a  chapel. 
Case  343.  No.  562.  Figure  of  a  nun.      Pen  and  ink. 

Small. 
Case    343.    No.    565,    1507,    1508.      A  struggling 

woman,  with  other  figures.     Pen  and  ink. 
Three  studies  for  the  same  subject.     The  latter 
two  are  signed  "//  Soddoma." 


364  APPENDIX 

Case  343.   No.  563.   Study  for  Madonna  del  Corvo. 

Pen  and  ink. 
Case  345.  No.  1644.   Design  for  a  ceiling,  The  Fall 

of  Pha'ethon.      Sepia.     Once  attributed   to    B. 

Peruzzi. 

Case  346,   No.  1943.    Architectural  Design.       Pen 
and  ink. 
Perhaps  for  S.  Catherine  Chapel,  S.   Domenico, 
Siena.     Signed  "  KS^^(7»m." 

Case  347.   No.  1743.  Risen  Christ.     Red  chalk. 

Case  347.   No.  1936  r.    S.  Christopher.     Red  chalk. 
Study  for  the  picture  in  Palazzo  Spada,  Rome. 

Case  347.  No.  566.  Head  of  a  youth  crowned  with 
laurel.     Pencil  and  water  colour. 
Very  beautiful.      Probably  a  portrait.     (Cf.   Brit. 
Mus.  and  Albertina  below.     Cf  A.  C.  Swinburne, 
Essays  and  Studies,  2nd  edit,,  p.  350.) 

In  Portfolios  not  Exhibited. 

Sheet  324.   No.    1357.    Study  for  fresco  at   Monte 
Oliveto  of  iS.  Benedict  preaching  to  the  shepherds. 
Sepia  and  brown  ink. 
Attributed  formerly  to  Timoteo  Viti,  but  given  to 

Bazzi  by  Morelli.  ( German  Galleries  cit.,^.  309,  note. ) 

No.  1937.  Study  for  upper  part  of  fresco  decoration. 
Spanish  Chapel,  S.  Spirito,  Siena.  Red  chalk. 
9-J  X  6|-  in.     Variation. 

No.  1938.  Group  of  struggling  figures.  Red  chalk. 
8  X  \6^  in. 

No.  1945.    The  Trinity  with  Madonna  and  Saints. 
Wash  and  pencil.      i7i  X  12J  in. 
Labelled   '' Maniera  del  Sodoma''   but    probably 
genuine. 

No.  10780.  Kneeling  monk.  Pencil  touched  with 
white,      12J  X  9  in, 


Photo:  Eroztw 


HEAD   OF  A   YOUTH    CROWNED   WITH    LAUREL. 
DRAWING. 

UFFizi,  flori;nce. 


To/ace />.  364. 


Photo :  Ediiutnd  Hoii/rhtou. 


THE    HOLY   TRINITY. 
DRAWING. 

UFFIZr.    FLORENCE. 


To  face  fi.  364. 


GENUINE   DRAWINGS  365 

No.   1 078 1.  Kneeling  monk.     Pencil   touched   with 
white.     1 2  J  X  94  in. 

On  the  back  of  each  of  these  are  other  sketches. 
On  the  former,  a  seated  nude  figure  ;  on  the  latter, 
more  studies  for  the  same  monk. 
No.  10778.  Kneeling  figure.    Red  chalk.    8^  x  sjin. 

Slight  sketch,  genuine.     Perhaps  S.   John   or  a 
Shepherd. 

Santarelli  Collection. 

T.30.  268.    5.    Catherine  fainting,    supported  by  a 
nun.     Pencil.     12J  x  14  in. 
Fine  large  drawing.     Reversed  position  of  figures 
to  those  in  the  fresco  at  Siena.     Genuine. 
T.31.  270.  Large  Descent  from  the  Cross,  with  many 
figures.  Sepia.  (Formerly  exposed  in  Case  438.) 
T.32.  271.  A  Similar  Study,     Pencil. 

TURIN. 

Royal  Library. 

No.  1 5589.  Female  saint  carrying  the  palm  of  martyr- 
dom, attended  by  two  cherubs.     Pencil  on  grey 
paper,      i  sj  X  8f  in. 
Large   drawing,    round    at    the    top.     From  the 
Lagoy  Coll.     Once  attributed  to  B.  Fungai.     (Cf 
painting  by  Gio.  Batt.  Crespi  in  the  Royal  Picture 
Gallery,  Turin,  No.  464.) 

MILAN. 

Mused  Civico  (Castello  Sforzesco). 
No.  15.  Z^fl'<3;  (head).     Red  chalk. 
No.  (?).  Risen  Christ.     Red  chalk. 

Once  in  the  Uffizi  and  afterwards  in  the  Morelli 
Collections. 
Resta  Coll.  (Biblioteca   Ambrosiana). 

5.  Mary  Magdalen  at  the  foot  of  the  Cross.     Morelli. 
{Delia  Pittura  Italiana  cit.,  p.  155,  note.) 


366  APPENDIX 

BUDA-PESTH. 

ESTERHAZY  COLL. 

Standing  figure  of  Roxana. 

VIENNA. 

Albertina. 

Head  of  a  young  bearded  man.      Black  chalk.     Life 
size. 

Called  "  A  Milanese  Nobleman."    Sketch.      For- 
merly attributed  to  Raphael.     (Cf.  Uffizi  and  Brit. 
Mus.) 
Head  of  Christ  crowned  with  thorns. 

Attributed    to    Andrea    Solario   by    Wickhoff  {/ 
Disegni  Italiane  de  IP  Albertina,  vol.  ii.)     (See  Her- 
mann Dollmayr  in  Archivio  Storico  dell'  Arte,  1893, 
p.  68.) 
Nude  standing  figure . 

Called  "  A  design  for  a  Madonna  Protettrice.'' 

MUNICH. 

Alt  Pinakothek. 

Fol.  109.  No.  3124.    The  Apotheosis  of  S.  Mary  of 

Egypt. 
No.  12873,  Large  head  of  a  woman.    Pencil.    Brown 
paper. 
Signed  ''Sodoma!'     Very  beautiful. 
No.    32470.    Madonna   and   Child,  who  is  kissing 
S.  Francis. 
Very  small  pen-and-ink  drawing.      On  the  back 
is  written  "  Originale  da  Sodoma  "  :  but  note  at  the 
side,  "  Niederlandische  Schule,  v.  Dyck  (?)  " 

WEIMAR. 

Grand  Ducal  Palace. 

Leda  kneeling  towards  the  swan.     Pen  and  ink. 

Attributed  to  Leonardo.      (See  Morelli,  Op.  cit.) 
Technique  of  Bazzi. 


GENUINE    DRAWINGS  367 

BERLIN. 

Old  Museum,  Beckerath  Coll. 

Monks  on  crosses;  seated  figures  ;  S.  Sebastian  ;  a 
child  with  a  cat.  A  sheet  of  sketches  of  figures. 
Pen  and  ink. 

LILLE. 

MUS^E  WiCAR. 

No.  50.  Two  designs  for  a  drawing  of  the  Eternal 
Father.     Pen  on  white  paper. 

No.  51.    Veiled  head  of  tJie  Virgin.     Black  and  red 
chalk. 

PARIS. 

Louvre. 

No.  9168  (1242).  Head.     Chalk  and  wash.     Grey 

paper. 
From  the  Mariette  Coll. 
No.  9169.    Woman  and  Child.     Pencil. 

Perhaps    sketch    for   one   of  the    S.    Bernardino 
frescoes.     From  the  Baldinucci  Coll. 
No.  9175.  S.  Michael.     Pen,  ink,  and  s^pia.      12  X 
21  in. 
Large  drawing.     Signed  ''  del  Sodoma." 
No.  9178.  Large  woman  s  head,  veiled  and  looking 
down.     Crayon  and  pencil. 
Charming  sketch  for  a  Madonna.   From  the  Baldi- 
nucci Coll.  (tom.  i.  p.  151). 

ACADEMIE  DES   BeAUX  ArTS. 

Woman  s  head. 

Finedrawing.   {S&^'E.Muniz, Revue EncyclopMique 
Larousse,  No.  238,  March  26th,  1898,  p.  264.) 

LONDON. 

British  Museum. 

No.  41.  Large  head  of  a  youth.   Black  chalk  slightly 
touched  with  white. 


368  APPENDIX 

At  one  time  attributed  to  Raphael,  and  at  another 
to  Leonardo.  From  the  Lely,  Wellesley  and 
Malcolm  Collections.  (See  Uffizi  and  Albertina 
above.)  Cf.  also  A.  C.  Swinburne,  Essays  and 
Studies  (2nd  edition),  p.  350. 

No.  317.   5*.   Catherine  fainting,  supported  by  three 

angels.     Pencil,  Chinese  white.     12^  x  lof  in. 

Grey  paper.     Probably  an  original  sketch  for  the 

S.  Catherine  Chapel  in  S.  Domenico,  Siena.     From 

the  Lawrence,  Lagoy,  and  Woodburn  Collections. 

No.  96.  Portrait  of  a  man  with  a  beard,  in  a  black 
velvet  cap.  Pastel.  \o\  x  7i  in. 
Attributed  to  Timoteo  Viti,  and  said  to  be  his  own 
portrait.  A  slight  replica  in  chalk  of  this  drawing  is 
now  in  possession  of  the  heirs  of  Sir  Thomas  Phillips 
at  Cheltenham.  From  the  Holditch,  Antaldi, 
Lawrence,  King  of  Holland,  and  Woodburn  Collec- 
tions. Exhibited  (No.  261)  Grosvenor  Gallery 
(Winter  1877-78),  as  by  Raphael. 

Coll.  of  Dr.  J.  P.  Richter. 

Pieta.     Pen  and  ink. 

From  the  Cosway,  Robinson  and  Heseltine 
Collections. 

OXFORD. 

Taylorian  Institution. 

Sketch  for  Roxands  bed.  Pen  and  ink.  Once 
attributed  to  Baccio  Bandinelli. 
No.  177.  Robinson's  Catalogue.  Fromthe  Arundel, 
Cosway,  and  Lawrence  Coll.  (See  Frizzoni,  Op.  cit., 
p.  142,  and  Foerster,  Jahrbuch,  etc.,  15  Band,  1894, 
pp.  187-202.) 

Madonna  and  Child  with  SS.  Joseph  and  Francis. 
Large  cartoon  from  the  Chambers  Hall  Coll. 


GENUINE    DRAWINGS  369 

Christ  Church. 

Head  of  a  youth  with  long  hair. 

Suggested  by  Sidney  Colvin  {^Selected  Drawings 
at  Oxford,  Part  I.,  1904)  and  by  Frizzoni  {L'Arte, 
1904,  Fasc.  iv.-v.)  to  be  a  portrait  of  Raphael  for 
the  School  of  Athens.  Formerly  attributed  to 
Leonardo. 

CHATSWORTH. 

Coll.  of  the  Duke  of  Devonshire. 
Leda  on  her  knees  embracing  the  swan. 

Attributed  to  Raphael.  (See  Morelli,  Op.  cit., 
p.  cit.  Also  S.  A.  Strong,  Critical  Studies,  etc.  : 
London,  1905,  p.  129.) 

WILTON  HOUSE. 

Coll.  of  the  Earl  of  Pembroke. 

Sketch    for   a   group    in    the   Presentation   at   the 
Oratory  of  S.  Bernardino  in  Siena. 

WINDSOR  CASTLE. 
Royal  Library. 

There  are  no  admitted  drawings  by  Bazzi  in   this 
Collection  ;  but  two  sketches  there  have  been 
attributed  to  him  by  some  of  the  best  art  critics, 
as  follows  : — 
Four  studies  for  the  dressing  of  the  hair  of  Leda. 
Red  and  black  chalk. 
These  are  generally  attributed  to  Leonardo,  and 
are  very  elaborate.    (Grosvenor  Gallery  Publications, 
No.   50.)      Exhibited   at    the    Grosvenor    Gallery, 
(Winter  1877-78,  No.  710),  and  at  the  New  Gallery 
(Early  Italian  Art,  1893-94.     No.  1520.) 
Nude  standing  figure  of  Leda,  with  her  arms  round 
the  swans  neck. 
Attributed  to  Raphael. 

(For  both  these  and  other  Leda  drawings  consult 
Morelli,  Op.  cit.,  p.  cit.') 

24 


PICTURES   ATTRIBUTED    TO  GIOVANNI 
ANTONIO  BAZZI.  CALLED  "SODOMA." 

SIENA. 

Opera  del  Duomo. 
The   Transfiguration. 

Decoration  for  an  organ.  On  cloth.  Once 
attributed  to  Bazzi,  but  now  proved  to  have  been 
painted  by  Girolamo  Genga  under  his  influence, 
in  1 510,  for  the  sum  of  100  scudi.  (See  Frizzoni, 
L' Arte  del  Rinascimento,  etc.,  p.  130,  note  i  ;  and 
Vasari,  vol.  vi.,  p.  316,  note  i.) 

Oratory  of  S.  Bernardino  (Sacristy). 
Madonna. 

Banner,  very  much  dilapidated.  Exhibited  Mostra 
deir  Arte  Sacra,  Siena,  1904. 

S.  Domenico  (Chapel  of  the  Rosary). 
Predella  Panels. 

(See  Genuine  List.)   Fifteen  small  scenes  from  the 
Life  of  Christ,  illustrative  of  \}ci^Joys,  Sorrows,  and 
Glories  of  the  Rosary.     Probably  by  pupils. 
(Cappella  delle  Volte.) 

The  Charities  of  S.   Catherine.     Panels  (2). 

Authority  for  attribution  A.  J.  C.  Hare.  Probably 
by  Giomo  del  Sodoma. 

House  of  S.  Catherine. 

S.  Jerome  and  S.  Dominick.     Fresco. 
Two  Prophets.     Fresco. 

370 


ATTRIBUTED    PICTURES  371 

God  the  Father.     Fresco. 

In  so  dark  a  position  as  to  be  almost  invisible. 
Certainly  by  Riccio.  (See  Milanesi,  Documenti,  etc., 
vol.  iii.  p.   239.) 

Church  of  Monagnese. 
Frescoes. 

Attributed  to  Bazzi  and  Riccio.  (See  Corrections 
by  Ercole  Squarci  to  Pecci's  Relazione,  etc.,  p.  40. 
Benvogl.  Miscell.     Bib.  Com.  C.V.  3,  p  325'.) 

ACCADEMIA   DELLE    BeLLE    ArTI. 

Room  VIII.  No.  357.     5.  Catherine.     Panel. 

Gift  of  the  Spannocchi  family. 
No.  347.     Ecce  Homo.     Panel. 

School  work. 
No.  356.     Madonna  adoring  the  Infant  Christy  with 
S.  Joseph  and  little  S.  John. 

School  work. 

(School  of  Design.) 
Five  decorative  pieces. 

Fragments  of  a  fresco  decoration  brought  from  a 
Chapel  at  S.  Francesco. 

S.  Maria  di  Concezione  dei  Servi. 
(First  altar  on  the  right.)     Two  panels. 

S.  Rochy  and  S.  Catherine  or  B.  Elisabetta  Vieri. 
Probably  by  Giomo  del  Sodoma. 

Palestra  Tolomei.     (Suppressed  Compagnia  della 
S.  Croce.) 
Four  Evangelists.     Fresco. 

A  Cross  surrounded  by  Angels  carrying  the  instru- 
ments of  the  Passion.     Fresco. 
A  Cross  with  two  kneeling  figures.     Fresco. 
A  seated  Prophet.     Fresco. 

God  the  Father  amid  Angels  playing  musical  instru- 
ments. 
Designed  by  Bazzi.     School  work. 


372  APPENDIX 

Palazzo  Saracini  (Picture  Gallery). 
Christ  bearing  His  Cross. 

If  genuine  ruined  by  repainting. 
The  Resurrection. 

Large  and  fine.  By  Riccio.  Formerly  over  the 
high  altar  in  the  Church  of  the  Servi.  (See  Notes 
by  Cav.  E.  Squarci  on  Gigli's  Diario  Senese, 
December  6th.  Benvogl.  Miscell.  Bib.  Com.  Siena, 
C.V.  3,  pp.  319-29. 

(The  Chapel.) 

Figures  of  Madonna,  Saints  and  Holy   Women. 

Life-size  figures,  surrounding  a  large  carved 
wooden  crucifix.  Composition  good,  but  much 
damaged.  Resembles  paintings  of  Descent  from 
the  Cross  by  Pacchia  at  Sinalunga  and  at  Monistero  ; 
also  a  similar  subject  at  Montalcino.  Some  figures 
recall  Bazzi's  Deposition  in  the  Picture  Gallery. 
Most  probably  Riccio.  Removed  hither  from  the 
suppressed  Confraternita  di  S.  Giovanni  Battista 
della  Morte. 

Palazzo  Bernardi. 

The  Holy  Family  with  S.  Catherine  of  Siena. 
Round  picture.     Exhib.  Siena,  1904. 

S.  Sebastiano  in  Camollia. 
Four  bier  heads  {testate  di  bar  a). 

Attributed  by  some  authorities  to  Bazzi  (see 
Romagnoli) ;  by  others  to  Bigio.  Probably  painted 
by  Girolamo  del  Pacchia  for  the  Compagnia  di 
S.  Rocco.  (Cf.  Mil.,  Doc.  iii.  60 ;  and  see  Guida 
Artistica  della  Citta  di  Siena,  p.   159.) 

Chapel  of  the  Old  Communal  Prison. 
The  Crucifixion  with  Saints. 

Originally  good  picture.  Certainly  not  by  Bazzi. 
Much  injured  ;  partly  built  up  and  much  discoloured. 
{Guida  Artistica  cit.,  p.  100.) 


ATTRIBUTED    PICTURES  373 

Via  Giovanni  Dupre. 

The  Epiphany. 

Probably  by  Riccio.  Very  much  defaced.  (Guida 
Artistic  a  cit.,  p.  81.) 

S.    CaTERINA    BELLA    NoTTE. 

Replica  of  part  of  the  Adoration  of  the  Magi. 

Perhaps  a  good  copy.  Hung  in  so  dark  a  position 
as  to  be  almost  invisible.    (Guida  Artistica  cit.,  p.  5 1.) 

Casa  Bargagli,  Porta  Tufi. 

Truth. 

Classical  figure  of  nude  woman,  holding  a  hand 
mirror.  Good  condition.  Small  picture.  Riccio. 
Exhib.  Siena,  1904. 

Casa  Nastasi,  Via  del  Casato. 

The  Labours  of  Hercules.     Frescoes  on  facade. 

Romagnoli  attributes  this  chiaroscuro  frieze  to 
Bazzi,  but  it  is  much  more  probably  by  Capanna. 
Much  injured  by  time  and  weather.  {Guida  Artistica 
cit.y  p.  80.) 

IN    THE    SIENESE    DISTRICT. 
SiNALUNGA,  Church  of  S.  Lucia. 

S.  Roch,  robed  in  red  as  a  Pilgrim.      Bier  head. 
Well  painted. 

Dead  Christ  supported  by  Angels.     Bier  head. 
Poor,  careless,  and  badly  repainted. 

5'.  Bernardino  di  Siena.     Fair.     Bier  head. 
►S.  Caterina  di  Siena.     Fair.     Bier  head. 

All  four  in  very  bad  preservation.  (Cf.  Inven- 
tario  Generate  degli  Oggetti  d Arte,  compiled  by 
F.   Brogi,  p.  559.) 


374   ^  APPENDIX 

Street  Corner. 

Resurrection. 

Very    badly    injured,    and   doubtful.      Inventario 
cit.,  p.   573. 

TORRITA. 

Prepositura  di  SS.  Flora  e  Lucilla. 

Madonna  and  Child  seated  upon  clouds  surrounded 

by   Cherubs.     Below,  SS.  John  the  Evangelist, 

Francis,  Mary  Magdalen,  Bartholomew,  Flora > 

and  a  Holy  Martyr. 

Colour  much  faded.    Retouched  in  oil.     Inventario 

cit.,  p.   598.     School  work. 

Madonna  della  Pace. 

Angels  and  Saints.     Large  canvas. 

Surrounding  a  picture  of  the  Madonna  by  another 
artist.     Much  injured.     A  tolerable  school  work. 

S.  QUIRICO  D'ORCIA. 

Church  of  the  Misericordia. 

The  Holy  Family  with  SS.  Leonard  and  Sebastian. 

Large  picture  in   bad    condition.     According   to 
Frizzoni  [Op.  cit.,  p.    185),  and  others,  by  Riccio. 
(Cf.  also  Delia  Valle,  Op.  cit. ;  Inventario  cit.,  p.  537.) 
5'5'.  Dominick  and  Paul.     Bier  heads.     Oil. 
Madonna  and  Child.     Bier  heads.     Oil. 
SS.  Leonard  and  Sebastian.     Bier  heads.     Oil. 
Two  Holy  Martyrs.     Bier  heads.     Oil. 

Very  doubtful.     {^Inventario  cit.,  p.  cit?) 

MONTALCINO. 

Church  of  S.  Antonio  Abate. 

Banner ;  and  decoration  of  a  side  chapel. 
Most  doubtful.     {^Inventario  cit.,  pp.  257-8.) 


ATTRIBUTED    PICTURES  375 

Church  of  S.  Lorenzo  in  S.  Pietro. 

The  Crucifixion. 
Most  doubtful.     [Inventario  cit.,  p.  245.) 

Church  of  the  Osservanza. 

Pietd. 

Probably  school  .work.  Resembles  pictures  by 
Pacchia  at  Monistero  and  Sinalunga.  {Inventario 
cit.,  p.  264.) 

S.  Antimo,  near  Montalcino  (Crypt). 

Dead    Christ    with    Angels ;     and    decoration     of 
Sacristy  altar. 
Extremely  doubtful.    Much  restored.    {Inventario 
cit.,  p.  273.) 

ARGIANO,  NEAR  Montalcino. 

Church  of  S.  Pancrazio. 

The  Holy  Family  with  S.  Francis.     Panel   1*82  x 
1*42  cm. 

Exhibited  Siena,  1904.  Attributed  to  Beccafumi. 
{Inventario  cit.y  p.  268.) 

CONVENT  OF  MONTE  OLIVETO  MAGGIORE. 
On  a  Staircase. 

Pietd.     Fresco. 

Attributed  to  Bazzi  by  Frizzoni  and  others,  but 
so  over-painted  as  to  be  ruined.  Frizzoni  {Op.  cit., 
p.  116)  speaks  of  a  Christ  bearing  His  Cross.  Either 
he  has  forgotten  what  there  really  is,  or  has  mistaken 
Riccio's  large  Way  of  the  Cross  on  another  staircase. 
The  Annunciation.     Fresco. 

S.  Michael  driving  the  devils  from  Heaven.    Fresco. 
S.  Peter.     Fresco. 

(Fragments  in  the  General's  apartments,  probably 
by  pupils.     They  are  certainly  not  by  Bazzi  himself) 


376  APPENDIX 

Church. 
S.  Jerome. 

Attributed  to  Bazzi.  Brescianino  (?)  (See  Notes 
by  Cav.  E.  Square!  on  Gigll's  Diario,  4th  March. 
Benvogl.  MiscelL,  Bib.  Com.,  Siena,  C.V.  3.) 

ASCIANO. 

COLLEGIATA. 

Dead  Christ  supported  by  three  Disciples.     Fresco. 
Tondo.     Diameter  0*90  cm. 
Probably  by  Riccio.    Three-quarter-length  figures. 
(See  Frizzoni,  Op.  cit.,  p.  185.    Inventario  cit.,  p.  11.) 

S.  GIMIGNANO. 

Cappella  del  Pretore. 

Truth,  Prudence,  and  Falsehood.     Fresco.     Mono- 
chrome. 
Very  poor  and  doubtful  work.     Much  damaged. 

MONTEGUIDI. 

Church  of  the  Compagnia  della  Visitazione. 
The  Visitation.     Canvas. 
{Inventario  cit.,  p.  58.)     Most  doubtful. 

SUBIACO. 

Chapel  of  S.  Francesco. 

Scenes  from  the  Life  of  the  Virgin.     Frescoes. 

Attributed  by  Schmarzow.  (See  Der  Fresken- 
schmtick  einer  Madonnenkapelle  in  Subiaco,  Berichte 
liber  die  Verhandlungen  der  Koniglich  Sachsischen, 
etc.)     Cf  Text,  p.  115. 

ROME. 

Capitol,  Sala  dei  Conservatorl 

Scenes  from  the  Punic  Wars.     Frescoes. 

Probably  by  Baldassare  Peruzzi.     (Wickhoff.) 


ATTRIBUTED   PICTURES  377 

Villa  Borghese. 

No.  434.  Leda  and  the  Swan. 

Formerly  attributed    to    Leonardo.      Probably  a 
copy  of  a  lost   Bazzi.      Perhaps  by   Pacchia.     (See 
Morelli,  Delia  Pittura  Italiana,  etc.,  p.  150.) 
No.  439.   The  Holy  Family. 

Attributed  to  Bazzi  by  Albert  Jansen  {Leben  und 
Werke,  etc.,  p.  45),  but  much  more  likely  by  L.  di 
Credi  or  one  of  his  school. 
Palazzo  Barberini. 
No.  59.  Madonna. 

Most  doubtful.     Much   more  probably  by  Lodi. 
Hard  in  execution.     (Morelli,  Op.  cit.,  p.  152,  note.) 
Palazzo  Chigi. 

Holy  Family  with  SS.  Catherine  of  Siena,  Catherine 
of  Alexandria,  and  Bernardino  of  Siena. 
Very    doubtful.      (See     Burckhardt's      Cicerone, 
French  edition,  p.  706.    G.)     Hard  in  outline  and 
drawing. 
CoRsiNi  Gallery  (from  the  Monte  di  PietA). 
No.  655.  Madonna  and  Child  with  SS.  Nicholas 
and  Catherine  of  Alexandria.     Tondo. 
Very  Sodomesque.     Not  a  very  good  picture. 
No.   719.   The  Deposition.    Two  Grey  Friars  to  left, 
two  Female  Saints  to  right.     Large  fresco. 
Signed  Jacobus  .  .   .  Jacopo    (?)        Figures   well 
drawn  and  well  grouped.     (Given  by  the  Minister 
of  Public  Instruction.) 
Centurione    Scotti    Sale.     April  27th,   28th,   29th 
1903.     (Sangiorgi.)    Lot  No.  42. 
Madonna  and  Child.     073  by  0*54  cm.     Doubtful. 
Coll.  of  Donna  Laura  Minghetti. 
Madonna. 

Second  Lombard  period.     (See  Frizzoni,  Op.  cit. 
p.  158,  note.) 


378  APPENDIX 

FLORENCE. 

BiGALLO. 

Christ  bearing  His  Cross. 

Attributed  by  Corrado  Ricci.  (See  Rassegna 
d'Arte,  July  1904;  Rivista  d'  Arte,  Anno  II. 
Nos.  lo-ii.  1904.)  Terribly  repainted  and  ex- 
tremely doubtful. 

Coll.  of  Cav.   Kennedy  Laurie. 

Madonna  with  Saints. 
More  than  doubtful. 

Settignano,  Coll.  of  B.  Berenson,  Esq. 

Holy  Family  with  the  Magdalen  and  Infant  S.  John. 
Very  doubtful. 

Madonna  and  Child} 

LUCCA. 

Palazzo  Provinciale. 

Room  I.  No.  12.   Christ  bearing  His  Cross. 
Retouched.      Feeble  and  over-sweet. 

VOLTERRA. 

DuoMo  (Chapel  of  S.  Carlo). 
Deposition  from  the  Cross. 

Very  doubtful.     Probably  a  copy.     Small  sketch 
in  oils.     (See  Frizzoni,  Op.  cit.,  p.  175.) 
S.  Francesco  (Chapel  of  the  ConfraternitA  della 
Croce  di  Giorno). 
The  Crucifixion. 

Very  much  over-painted.  Perhaps  Riccio.  (See 
Frizzoni,  Op.  cit.,  p.  186.) 

^  This  painting  was  found  by  its  present  owner  whilst  this  work  was 
in  the  press.  Consequently  we  have  been  unable  to  see  and  form  any 
opinion  upon  it.     Mr.  Berenson  dates  it  about  1507. 


ATTRIBUTED    PICTURES  379 

BERGAMO. 
Galleria  Lochis. 
No.  136.  Madonna. 

Attributed  to  Leonardo.  Second  Lombard  period. 
Small,  poor,  and  very  dark.  (See  Frizzoni,  Op.  cit., 
p.  158,  note  ;  also  Morelli,  Op.  ciL,  p.  153.) 

VAPRIO    D'ADDA. 
Villa  Melzl 

Madonnone.     A  vast  fresco. 

Formerly  attributed  by  some  to  Leonardo,  by 
others  to  Francesco  Melzi.  Assigned  to  Bazzi  by 
Morelli  {Op.cit.,  p.  152),  and  Frizzoni  (C^.aV.,  p.  159). 
Formerly  in  an  open  loggia,  but  now  enclosed 
into  a  gallery  by  a  modern  flooring. 

VERCELLI. 

Coll.  of  Aw.   L.  Bozino. 

Pietd.     (See    Faccio,    Giovan   Antonio  Bazzt,  etc., 
p.  193.     Cf.  also  note  from  L'Arte.,  May  1899.) 

Palazzo  Tizzoni.    (Teatro  Mariani,  now  Accademia 
DELLE  Belle  Artl) 
A  Feast  of  the  Gods.     Ceiling  fresco. 
The  Holy  Family.     (On  the  staircase.)     Doubtful. 
Frizzoni  doubts  these  being  the  work  of  Bazzi. 

ARCORE,  near  MILAN. 

Coll.  of  the  late  Sig.  B.  Vittadinl 
Christ  bound  between  two  gaolers. 

Unpleasant  picture.      Life-size  figures,  J-length, 
MILAN. 

Mused  Borromeo. 
No.  51.  Madonna. 

Framed  in  a  rich  frame  with  "  Umiltas  "  inscribed 
upon  it.  Attributed  to  Leonardo.  Perhaps  an  old 
copy  of  a  Bazzi,  (See  Frizzoni,  Archivio  Storico 
deir  Arte,  1890,  p.  358.) 


38o  APPENDIX 

MUNICH. 
Alt  Pinakothek. 

No.  562.  Head  of  the  Archangel  Michael. 

Bought  at  Bologna  as  a  Raphael.  Attributed 
to  Timoteo  Viti  or  Costa. 

BERLIN. 

Note. — At  the  end  of  the  Catalogue  of  the  Berlin 
Museum   appear  the  following   entries   of   pictures 
stored  away  or  on  loan  : 
No.  244.  Christ  bearing  His  Cross.    0*59  x  0*55  cm. 

Doubtful.     On  loan  at  Emden. 
No.  292.  Ecce  Homo.     076  x  0*62  cm. 

Doubtful.     On  loan  at  Bonn  University. 
No.  293.  Pietd.     too  x   175  cm.     Large  cartoon. 

In  one  of  the  offices  in  the  Berlin  Museum. 

Wesendonck  Gallery. 

No.  4^.  Madonna  and  Child.  Panel,  0*48  x  0*39  cm. 
Attributed    to     Bazzi,  but    doubtful.     (Herr    F. 
Harck,  Archivio  Storico  de IV  Arte,  1889,  p.  213.) 

NEUWIED. 
Royal  Palace. 
Leda. 

Sometimes  called  Charity.  (See  Layard's  Kttgler, 
vol.  ii.  p.  409  :  ed.  1900.)  Once  at  Malmaison, 
then  at  Cassel,  and  afterwards  in  the  Collection  of 
Prince  Frederick  of  Holland  at  The  Hague.  (See 
also  Morelli,  Op.  cit.,  p.  148.) 

MAYENCE. 
Royal  Gallery. 

No.   108.  S.  Jerome  in  the  Desert. 

No.   109,   The  Holy  Family. 

No.   110.   The  Archangel  Raphael  and  Tobias. 

Triptych  by  Eusebio  Ferrari.  From  the  Metzler 
Collection.      Attributed  to  Gaudenzio  Ferrari  and 


ATTRIBUTED    PICTURES  381 

to  Bazzi.  (See  Franz  Rieffel,  "  Eusebio  Ferrari 
und  die  Schule  von  Vercelli,"  Repertorium  filr 
Kunstwissenschaft,  Anno  xiv.  pp.  275,  292.) 

BRUNSWICK. 

Coll.  of  Herr  H.  Vieweg. 

Madonna  and  Child. 

One    of   his    latest    works,    according    to    Fritz 
Harck  {Archivio  Storico  dell'  Arte,  1890,  p.  171). 

THE  HAGUE. 
Public  Gallery. 

No>  349  (162).      Venus  (?). 

Extremely  doubtful.     More  like  the  work  of  one 
of  Raphael's  pupils.     From  the  Rainier  Coll. 

BUDA-PESTH. 

Academy. 

Madonna  and  Child,  with  SS.  Francis  and  Catherine. 
Doubtful. 

VIENNA. 

Liechtenstein  Gallery. 

Christ  bearing  His  Cross. 

Attributed  by  Rumohr,  Meyer  and  Liibke.     Pro- 
bably School  of  Leonardo. 

MONTPELLIER. 

Musee  Fabre. 

No.  454.     The   Virgin  and   Child  with  Infant  S. 
John.     Panel.     0'20  X  0*17  cm. 
Part  of  Baron  F.  X.  Fabre's  first  gift  to  the  town 
on  April  2nd,  1825. 


382  APPENDIX 

PARIS. 

Coll.  of  M.  De  la  Rogiere. 

Allegorical  representation  of  the  City  of  Siena. 

Nude  woman  reclining  in  a  landscape  with  a 
serpent  biting  her  foot.  Exhibited  at  the  Exhibition 
in  the  Palais  Bourbon  in  aid  of  the  poor  of  Alsace 
and  Lorraine.  We  can  find  out  nothing  about  this 
picture,  or  even  exactly  where  it  is.     Doubtful. 

BRUSSELS. 
Coll.  of  Baron  Leon  de  Somzee.     (Now  dispersed.) 
The  Holy  Family. 

No.    449.      Sale    Catalogue,    bought   by    M.    von 

Mallenant  (Boheme).     Doubtful. 
The  Catalogue  of  the  Somzee  Sale  also  included — 
Madonna  and  Saints.     No.  447. 
Holy  Family.     No.  448. 
A  Seated  Saint.     No.  450.     Described  as  ''School 

of  Sodoma." 

ST.  PETERSBURG. 

The  Hermitage. 

No.   21.   T/ie  Marriage  of  S.  Catherine,  with  SS. 

John    Evan,    and    Bapt.,    Nicholas,    Stephen, 

Francis,  Jerome,  and  two  others. 

(See  Crowe  and  Cavalcaselle,  History  of  Painting, 

ed.   1866  vol.  iii.   p.    491.      Called  there  Mariotto 

Albertinelli.) 

Private  Apartments  of  the  Imperial  Family. 

The  Adoration  of  the  Magi.     91  x  75  in. 

Bought  by  M.  Vivant-Denon  for  Alexander  I. 
between  1808-12.  (See  Catalogue  pub.  by  E.  Pratz. 
St.  Petersburg,  1838.)     Certainly  not  by  Sodoma. 


ATTRIBUTED    PICTURES  383 

NEWHAVEN,  U.S.A. 
Jarvis  Collection. 

The  Holy  Family  with  SS.  Catherine,  Bernardino, 
and  John  Bapt. 
Fine  work  ;  but  attributed  by  Mr.   Berenson  to 
School  of  Bazzi. 

PHILADELPHIA,   U.S.A. 
Coll.  of  John  E.  Johnson,  Esq. 
Salvator  Mundi. 

Authority  Mrs.  Bernhard  Berenson. 

BALTIMORE,   U.S,A. 
Coll.  of  Henry  Walters,  Esq. 
Holy  Family. 

Authority  Mrs.    B.    Berenson.      From  the  Mas- 
sarenti  Collection. 

LONDON. 
Coll.  of  Dr.  L.  Mond. 
Ecce  Homo. 

Unfinished.     Doubtful. 
Coll.  of  —  Wayne,  Esq. 

Madonna  and  Child.     18  x  14  in. 
Extremely  doubtful. 
Bridgewater     House,    Coll.     of     the     Earl     of 
Ellesmere. 
No.  39.     Procession  of  Nymphs. 

Attributed  to  Francesco  Primaticcio,  but  given  to 
Bazzi  by  Waagen.     Small   narrow  oblong  picture, 
bought  by  the  first  Earl  of  Ellesmere  in  Rome  from 
the  collection  of  a  surgeon. 
Coll.  of  Lady  Pirbright. 

Madonna  and  Child  with  SS.  Joseph  and  John  Bapt. 
23I  X  18  in. 
Probably  Riccio.     Exhibited  at  Burlington  House 
(Old  Masters),  1904.     No.  18. 


MISSING    PICTURES    PAINTED    BY 

GIOVANNI    ANTONIO    BAZZI,   CALLED 

"SODOM  A." 

SIENA. 

Church  of  S.  Francesco. 

Invention  of  the  Cross.     Destroyed  in  the  fire  in  1655. 

School  of  Design.     (Accademia). 
Decoration  for  a  cupboard. 

Water-colour  copy  only,  by  Sig.  Bandini.  It 
was  formerly  in  the  Casa  Venturi  Gallerani,  but 
has  been  sold  and  has  since  disappeared. 

House  of  Agostino  Bardi,  Piazza  Postierla. 
Facade.      Subject  unknown.      Destroyed  by    time 
and  weather. 

House  of  Sigismondo  Chigi,  Via  del  Casato. 
Scenes  from    Ovid   and    other    Classical  Subjects. 
Frescoes.     Now  disappeared. 

Palazzo  Savin i. 

Madonna  and  Child  with  SS.  Joseph  and  John  Bapt. 
3  X  I  j^  braccie. 
Frame    by    Antonio   Barili.       Painted  for  yEnea 
Savini  della  Costarella.      Sold  to  a  foreigner  by  the 
widow  of  the  last  Savini  for  120  scudi.     (See  Vasari, 
Op.  cit.y  p.  396  ;  Della  Valle,  Alfonso  Landi,  etc.) 
Madonna  and  Child  with  SS.  Joseph,  John  Baptist, 
S.  Catherine  of  Siena.     2  x  if  braccie. 
Frame  also  by  Antonio  Barili.     (See  Delia  Valle, 
Landi,  etc.) 

384 


MISSING    PICTURES  385 

Church   of  S.  Gismondo  alle  Volte,  near  Siena. 
The  Holy  Family.     Panel. 

Fine  picture.  Disappeared  in  the  War  of  1553. 
(See  Dionisotti,  Notizie  Biografiche  de  Vercellese 
lUustri,  p.  199.     Cf.  also  Mancini,  1697.) 

Oratorio  of  S.  Gherardo,  Piccolomini  Chapel. 
The  Holy  Family. 

Cannot  be  found.  Mentioned  only  by  Mr.  Bevir 
in  his  Guide  to  Siena. 

GUBBIO. 

Palazzo  Ranghiasci  Brancaleoni. 

No.  90.  H Presepio. 

Mentioned  in  the  Guida  Storica  di  Gubbio  of 
Oderigi  Lucarelli,  p.  32.  In  a  note  on  p.  29  the 
author  states  that  some  time  subsequent  to  1882  more 
than  a  hundred  of  these  pictures  were  sold,  and  the 
rest  divided  among  the  four  heirs  of  the  Marchese 
Francesco  Ranghiasci.  Perhaps  the  painting  now 
owned  by  Ernest  Hartland,  Esq.,  Hardwick  Court, 
Chepstow.     (See  above,  p.  360.) 

CHIUSURI. 
Parish  Church. 

The  Baptism,  of  Christ.  Fresco. 
SS.  Benedict  and  Michael  and  other  Saints.  Fresco. 
Recorded  by  Romagnoli  as  certainly  genuine, 
though  in  bad  condition.  The  church  collapsed 
through  a  landslip  at  the  beginning  of  the  last 
century.     Consequently  the  frescoes  perished. 

LUCCA. 

Convent  of  S.  Ponziano. 
Madonna. 

Perished.     Convent  destroyed. 

25 


386  APPENDIX 

FLORENCE. 

Church  of  the  Convent  of  the  Mantellate. 
Head  of  a  Madonna.    Fresco  (?)    Tondo.    Recorded 
by  Romagnoli  {Op.  cit.) 

Coll.  of  Cav.  Giuseppe  d'Este. 
The  Trinitct. 

Milanesi  MS.,  Commentary on\ 2,s,2iX\.  Bib.  Com. 
Siena,  P.  III.  45,  p.  174.  Engraved  in  VApe 
Italiana,  vol.  v.,  tav.  xxii. 

Lamponi  Sale,  Nov.  loth,  1902. 

Christ  carrying  His  Cross.  Canvas.    i'ioxo*72cm. 
Carved  gilded  frame.     Fine  painting  attributed  to 
Bazzi. 

Uffizi  (Corridor).     Case  95,  No.  188. 

Engraving  by  Marc  Antonio  of  a  picture  o{  Orpheus 
and  Eurydice.     Said  to  be  by  Bazz'i. 
Eurydice's  head,   hair,   and  pose  resemble  Eve, 
but   the   figure   is   generally  coarse   and    heavy  in 
modelling,  especially  in  the  hands. 

This  may  perhaps  have  been  engraved  from  the 
sketch  mentioned  below  :  Coll.  of  Senator  G.  Morelli. 

MILAN. 

Coll.  of  Count  Cereda  Bonomi. 
Afadonna. 

See  Morelli,  Op.  cit.,  p.  152.  This  collection  was 
sold  and  dispersed  on  the  1 4th- 1 6th  December,  1896. 
(See  an  account  of  the  sale  by  Frizzoni  in  Arte  e 
Storia,  February  loth,  1897.  He,  however,  does 
not  mention  the  Bazzi  picture.) 

SAVONA.      - 

Madonna. 

See  Mancini  and  Romagnoli,  {^Op.  cit.)  Now 
disappeared. 


MISSING    PICTURES  387 

TURIN. 

Royal  Palace. 

The  Virgin  and  Child,  with  SS.  John  Baptist  and 
Jerome.     Tondo.     (Dionisotti,  Op.  cit.,  p.  199.) 

ROME. 

Chapel  of  Cardinal  Salviatl 
Christ  bearing  His  Cross.     Panel. 

Mentioned  by  Delia  Valle,  Mancini,  and  Romag- 
noli.  The  latter  speaks  of  it  as  being  in  the  Cardinal's 
private  chapel  in  the  Palazzo  Salviati,  Lungara, 
Rome,  in  1690.  In  a  note  among  the  Ciaccheri 
MSS.  it  is  said  to  have  been  given  by  the  painter 
himself  to  a  friend,  one  Fedeli,  apparently  a  tailor, 
and  perhaps,  says  the  annotator,  a  descendant  of 
the  painter,  Bartolo  di  Maestro  Fede  [sic).  Romag- 
noli  calls  it  a  Way  of  the  Cross.  Perhaps  he  confuses 
the  Salviati  private  chapel  in  Rome  with  the  Salviati 
altar  in  San  Francesco,  Siena.  In  any  case  the 
mistakes  in  some  of  the  above  statements  are  obvious. 

MoNTE  DI   PietA. 

Madonna  and  Child,  with  SS.  Paul  and  Bernardino. 
Panel  065  x  o  83  cm. 
Described    by   Paul    Mundler.     (See    Dr.   Julius 
Meyer,  List  of  Bazzis  Works ^ 

PARIS. 

Coll.  of  M.  de  Maulde. 
Head  of  Christ. 

Exhibited  at  the  Turin  Exhibition  in  1898.  (See 
Official  Catalogue,  p.  196,  Sala  L,  No.  35,  and 
HArte  Sacra,  p.  107.  See  also  Antonio  Taramelli 
in  H Archivio  Storico  dell'  Arte,  1898,  p.   181.) 

LONDON. 

Sold  at  Christie's,   1847,  and  again  in   1859. 

The  Countess  of  Spannocchi  and  Family;  called  also 
''Charity:'     Panel. 


388  APPENDIX 

Bought  the  first  time  by  N.N.  for  £igg  los. 
Sold  again,  fi-om  the  Northwick  Collection,  and 
bought  by  J.  W.  Brett  for  £67  4s. 

Sold  at  the  Hamilton  Palace  Sale,   1882. 

Lot  339.  S.  Christopher  with  the  Infant  Christ  and 
SS.  Sebastian  and  Roch.      16  X  14  in. 
Mentioned   by  Waagen  (vol.  iii.,    p.  300)  as    in 
the    Collection  of  Capt.  Stirling,    M.P.,  Glentyan, 
Renfrewshire.      Bought  by  Banting  for  ^44  2s. 
Lot.  716.   '' Riposo,"   with  SS.  Francis,    Catherine, 
George,  and  Theresa.     29  x  22  in. 
Called  in  the  Catalogue  "  Venetian  School,''  but 
corrected  in  pencil  by  Mr.  Christie  himself  to  Razzi 
(sic).     Bought  by  Mr.  Boore  (on  commission)  for 
^136  io.y. 

NEWHAVEN,  U.S.A. 
Jarvis  Coll. 

5*.  Sebastian.     Attributed  to  Bazzi. 

COLOGNE. 

Picture  Gallery. 

No.  784.     Sta  Chiara. 

Catalogued  as  by  Bazzi,  but  probably  by  Riccio. 
(Dr.  Thode,  Archivio  Storico  dell'  Arte,  1889,  p.  52.) 
Disappeared. 

COLL.  OF  THE   LATE  VICOMTE  DE  TAUZIA. 

Scenes  from  Ancient  Mythology. 

It  is  uncertain  where  these  are.  (Frizzoni,  Op.cit., 
P-   213.) 

COLL.  OF  BARON   RUMOHR. 

The  Story  of  Cefalus  and  Procris.     On  muslin. 

(See  Rumohr,  Ital.  Forschungen,  vol.  ii.  p.  386  ; 
and  Frizzoni,  Op.  cit.,  p.  149.) 


MISSING    PICTURES  389 

COLL.  OF  W.  SICHEL,  ESQ.  (?) 

The  Holy  Family.     Panel.     26  x   18  in. 

Exhibited  at  the  Burlington  Fine  Arts  Club,  1898. 
Bought  by  Mr.  M.  Colnaghi  from  the  Coll.  of  the 
Rev.  A.  H.  Clementi  Smith,  at  Christie's,  1899. 
Disappeared. 

ONCE      BELONGING     TO     SENATOR     G. 
MORELLI. 

Orpheus  and  Etirydice.     Sketch. 

Early  Sienese  period.    Frizzoni,  Op.  cit.  ;  Meyer, 

Op.  cit.,  Catalogue  B. 
It  is  as  well  to  note  that  Romagnoli  giv^es  a  very  long 
list  of  suggested  pictures  by  Bazzi,  many  of  which  it 
is  hopeless  now  to  endeavour  to  identify.  It  is  hardly 
probable  that  they  were  important :  very  likely  the  work 
of  imitators.  Moreover,  in  the  Sale  Catalogues  in  the 
big  towns  of  Italy  and  elsewhere,  so-called  Bazzi's  are 
continually  appearing,  which  more  often  than  not  may 
come  under  the  same  category.  Now  and  then  a  genuine 
picture  turns  up,  but  it  is  usually  in  some  private  family, 
and  often  passing  under  another  name.  Others  may 
still  be  found  in  American  collections  as  yet  unidentified, 
but  we  have  not  had  the  opportunity  of  surveying  that 
vast  field. 

Note. — Whilst  this  work  was  in  the  press  our  attention  was  drawn  to 
the  following  passage  in  a  catalogue  of  pictures  collected  by  Mr.  William 
Young  Ottley  in  Rome  during  the  years  1798  and  1799,  and  sold  at 
Christie's  on  May  i6th,  1801  (W.  Buchanan,  Memoirs  of  Painting,  etc., 
vol.  ii.  p.  22.     London  :  R.  Ackermann,  1824) : 

"  No.  6.  SoDOMO  DE  Sienna. — Madonna,  with  the  Infant  Christ 
and  S.  John.  Probably  the  only  picture  in  England  of  this  great  master, 
who  was  the  first  of  the  Sienese  School  and  a  worthy  concurrent  of 
Raphael.  His  cabinet  pictures  are  extremely  rare  even  in  his  own 
country. — i  ft.  6  in.  x  2  ft.  2  in. — 170  guineas." 

Can  this  be  the  painting  formerly  belonging  to  the  Rev.  A.  Clementi 
Smith  (see  above)  ?  The  extract  has  a  further  interest  inasmuch  as  it 
illustrates  the  extraordinary  ignorance  of  the  so-called  critic,  barely 
eighty  years  since,  as  soon  as  he  strayed  from  the  then  orthodox  beaten 
track  of  connoisseurship. 


DRAWINGS  ATTRIBUTED  TO  GIOVANNI 
ANTONIO  BAZZI,  CALLED  "  SODOMA." 

SIENA. 

Spannocchi  Coll. 

Flagellatori.     Pencil.     0*24  x  o'i6  cm. 

"  Maniera  del  Sodoma."     Exhib.  Siena,  1904,  as 
above. 

FLORENCE. 

Uffizl 

Case  344.  No.   567.      Risen  Christ.     Pencil. 
Doubtful.     Very  florid. 

Case  No.  343.     No.  121 2.     Pietd.     Pen  and  ink. 
Doubtful.     Scratchy  and  poor. 

Case  103.   No.  414.  Drawing  of  a  Lady.    Red  chalk. 
Generally  attributed   to   Leonardo,  and   by    Mr. 
Berenson  to  Pontormo. 

Case  343.   No.   1933.  Portrait  of  a  Youth.     Pencil. 
Doubtful. 

Case  93.   No.  421.  Madonna  and  Child  with  a  cat. 
Pen  and  ink. 
Attributed  to  Leonardo,   but  given  to  Bazzi  by 
Morelli  {Op.  cit.,  p.  154). 

(In  Portfolios  not  Exhibited.) 

Sheet  324.  No.    1932.  Study  of  a  kneeling  bearded 
Saint.     6  X  9  in.     Pencil. 
Perhaps  a  S.  Jerome. 
390 


ATTRIBUTED   PICTURES  391 

(In  another  Portfolio.) 

No.    10779.   Two  Apostles.    Red  chalk.    T6xi9:|-in. 
Very  fine.      Rather  too  studied  to  be  by   Bazzi. 
Fine  draperies.     Border  much  cut  down  ;  evidently 
injured. 

No.   10777.  Seated  figure. 

Huge  torso  and  thighs.  Absurdly  small  head, 
hands,  and  feet.  Before  him  kneels  another  mis- 
formed  figure.     A  very  doubtful  work. 

No.   1940.  Figure  of  a  young  bearded  Man.    Washed 
drawing. 
Attributed  to  Bazzi.     Certainly  Luini. 
No.    1 94 1.  Study  of  figures.     Pen  and  ink. 

Large,  very  doubtful.     Possibly  Peruzzi. 
No.   1942.    The  Swoon  of  S  Catherine. 
Probably  a  Sienese  copy. 

No.   1944.   The  Way  of  the  Cross.    Washed  drawing. 
Figure  of  Christ  inked  over  at  a  later  date. 

Santarelli  Coll.     Sheet  4. 

T.  29.  256.  Pieta.     Pencil,  wash  and  Chinese  white. 
Holy  women  and  Joseph  of  Arimathea.     Rocks 
behind  to  the  left.     Cross  in   the  distance  to  the 
right. 

T.  29.  266.  5".  Sebastian.     Pale  ink  and  wash. 

Careful  drawing  for  a  niche.  A  beautiful  youth 
bound  to  a  pillar;  left  arm  raised  above  his  head, 
right  bound  behind  him.  Legs  over-developed. 
(This  drawing  is  described  in  Philpot's  catalogue  as 
Christ  bound  to  the  Column,  No.  3082.) 

T.  29.  267.    Venus  sailing  over  the  sea  in  her  shell, 
with  her  maittle  for  a  sail.     Pencil  and  Chinese 
white. 
Careful  drawing.     Coarse  modelling. 


39^  APPENDIX 

T.  31.  269.  Preparations  for  the  Crucifixion.    Sepia. 
Large  drawing  ;  high  lights  touched  up  with  white. 

T.  32.  272.  Sketch  for  S.  Sebastiaft  in  the  Uffizi. 
Probably  a  copy  sketch  from  the  picture.      Poor. 

T.  33.  273.  Lucifer  devouring  souls.  Sepia  and  ink. 
Winged  allegorical  figure.  Probably  an  illustration 
to  some  legend  or  poem.  Very  carefully  finished. 
Obviously  not  by  Bazzi,  though  a  very  clever  drawing. 
Stradano  (?). 

T.  33.  274.  Man  struggling  with  a  serpent.  Pen 
and  ink. 

One  of  the  sons  of  Laocoon,  from  the  celebrated 
group.  Careful  drawing.  Anonimo,  XVIII.  Cent. 
T.  34.  275.    l^he  Crucifixion.     Sepia  and  ink. 

Signed  "  raffael  cC  urbino."  One  cross  with  many 
figures. 

T.  34.  276.  Ecce  Homo.     Sepia. 

Full  length,  with  many  figures.     Small  drawing. 

T.  35.  277.  Large  head  of  a  nun.     Pencil,  red  chalk 
and  Chinese  white. 
Perhaps  a  study  for  S.  Catherine  ;  but  more   pro- 
bably a  copy. 

T.    36.    278.    The    Virgin    and    Child   enthroned; 

S.  George  and  the  Dragon;  S.  John  the  Baptist. 

Pen  and  ink. 
Signed  Anno  Domini  MDLVIII.     Probably  by 
Pacchia. 

T.  37.  279.   Christ  in  the  attitude  of  Benediction. 
Sepia  and  ink. 
School  of  Bazzi. 

Coll.  of  the  Dow.  Duchess  of  Sermoneta. 

Two  female  heads  facing  each  other.     5  J  x  9  J  in. 

Coloured  sketch  in  distemper,  on  coarse  drawing- 
paper.     Perhaps  Pacchia. 


ATTRIBUTED    PICTURES  393 

TURIN. 

Royal  Library. 

i5»590-   Classical  subject.      Warriors  with  a  woman. 
7|  X  5i  in. 
Attributed  by  L.  von  F.  to  Peruzzi,  which  is  much 
more  probable. 

MILAN. 

Ambrosiana. 

S.  Mary  Magdalen  seated  reading. 
(Morelli,  Op.  cit.,  p.  155.  note.) 

Mused  Civico. 

►S".  Christopher. 
Not  by  Bazzi. 

VIENNA. 

Albertina. 

Drawing  for  the  Marriage  of  Alexander  and  Roxana. 
Formerly  attributed  to  Raphael. 

MUNICH. 

Alt  Pinakothek. 

Fol.  109.  No.  2514.  Diana  and  her  Nymphs. 
Washed  drawing.  Attributed  to  Maturino.  (See 
Morelli,  German  Galleries,  p.  97.)  Probably 
Genga. 

HAMBURG. 

KiJNSTHALLE  (HaRZEN  CoLL.). 

Two  drawings  for  Leda. 

On  both  sides  of  a  sheet  of  paper.     Attributed  to 
Raphael.  But  see  articleby  W.  }^oo^xn2inn,JahrdMcher 
fiir  Kon.  Preuss.  Sam.,  vol.  xii.  Heft.  i.  pp.  43-4. 


394  APPENDIX 

BERLIN. 

Royal  Museum  (Beckerath  Coll.). 

Dead  Christ  supported  by  two  figures.    Pen  on  brown 
paper. 
Exhib.  Milan,  1879.     Scribbled  all  over  ;  drawn 
and  over-drawn  several  times. 

Madonna   and    Child    with    another    figure.     Red 
crayon, 
Signed  "  Andrea  del  Sarto.''      Probably  a   copy. 

Madonna  and  Child  with  S.  Joseph.    Pencil,  touched 
with  red  crayon. 
Copy  of  a  composition.      Diagonal  lines  across  it. 

5*.  Catherine  of  Siena.  Three-quarter  length.   Pencil. 
Washed   with  sepia  and  heightened  with  white. 
Probably   a   copy. 

Group  of  Adoring  Shepherds.     Pencil,  pen  and  ink. 
Part  of  a  larger  composition.     Grey  paper. 

RENNES. 

MUSEE    PUBLIQUE. 

Frame    57    (P)    4.      S.    Sebastian.      Pen  and   ink. 
0*29  X  07  cm. 
Formerly  belonging  to  the  Marquis  de   Robien, 
and  perhaps  before  that  in  the  Crozat  Collection. 

PARIS. 
Louvre  (His  de  la  Salle  Coll.). 

'No.   18.  (2200.)  Leda.     Pencil. 
Attributed.     Doubtful. 

No.  19.   (2201.)  Leda.     Red  chalk. 
Attributed.     Doubtful. 


ATTRIBUTED    PICTURES  395 

Louvre. 

No.  9173.     The  Adoration  of  the  Magi.     Pen  and 
ink. 

No.  9177.   (1244.)  Head  of  a  Woman.     Pencil  and 
crayon. 
Doubtful. 

No.  89.  (a)  Julius  Ccesar. 
(b)  Augustus. 
Two  drawings  on  one  sheet  of  paper.     Painted  in 
water  colour  touched  with  gold. 

No.  90.  (a)   Tibe7'ius. 
(b)   Caligula. 
Same  as  above. 

No.  91.  (a)  Claudius. 
(b)  Nero. 
Same  as  above. 

No.  92.  (a)    Vespasian. 
(b)  Nerva. 
Same  as  above. 

No.  93.  (a)   Trajan. 
(b)  Hadrian. 
Same  as  above. 

On    the  back  of  this  last    design    the    following 
signature  is  written  in  large  capitals  in  three  lines — 
ANTONIUS 
VERCELLENSIS 
PINGEBAT. 
These  are  all  generally  considered  very  doubtful. 

LONDON. 

British  Museum. 

Leda.     Brown  ink. 

Small     oblong,      signed      Giorgione.       Wrongly 
attributed. 


396  APPENDIX 

No.  316.  Group  of  Sibyls  with  small  figures  below. 
Pen  and  bistre.  12J  x  lof  in. 
Has  been  attributed  to  Verrocchio  and  even  to 
Botticelli.  Attributed  with  no  reason  to  Bazzi. 
Frizzoni  suggests  that  this  drawing  may  be  by 
Baldassare  Peruzzi.  (See  Z'  Arte  del  Rinascimento, 
p.  193,  note.)  Exhib.  Grosvenor  Gallery  (Winter, 
1877^8). 

No.    734.      Angel's   head.       From    the    Lawrence 
Collection. 

Catalogue  of  Exhibition  of  Drawings  in  the  British 
Museum,  1895.  Attributed  to  Raphael,  but  given 
to  Bazzi  by  Crowe  and  Cavalcaselle  {Raphael,  vol.  ii. 
p.  374,  note). 

Coll.,  of  J.  P.  Heseltine,  Esq.,  98,  Queen's  Gate. 

Marriage  of  Alexander  and  Roxana. 

Attributed  to  a  pupil  of  Raphael.  From  the 
Lagoz  Coll. 

Mathey,  Esq. 

Four  figures,  two  kneeling.     Black  chalk. 

Formerly  in  the  Collection  of  Sir  J.  C.  Robinson 
Squared  for  painting. 

Coll.  of  C.  P."  Rowley,  Esq. 

Pieta.     Christ  supported  by  angels.     Panel. 

Exhibited  at  the  New  Gallery  (Early  Italian  Art, 
1893-4.     No.  1 561). 

Coll.  of  E.  Cheney,  Esq. 

Head  of  Christ.     Black  and  red  chalk. 

Exhibited  at  the  Grosvenor  Gallery  (Winter, 
1877-8.   No.  719).  Attributed  to  Giovanni  Razzi(^2V). 


ATTRIBUTED    PICTURES  397 

Coll.  of  J.  Knowles,  Esq.,  Queen  Anne's  Lodge, 
St.  James's  Park. 

Head  of  a  Girl.     Three  chalks.     Grey  paper. 

Exhibited  at  same   Exhibition  as  above  (1878-9. 
No.  571). 

OXFORD. 

Christ  Church  Library. 

Drawing  for  a  Triumph.     On  yellow  paper. 
Attributed  to  Bazzi,  but  probably  by  Peruzzi. 

The  Triumph  of  Bacchus.    Oval  sketch     Sepia  and 
Chinese  white. 
Attributed  to  Bazzi,  but  by  Berenson  to  Perino 
del  Vaga. 


MISSING    DRAWINGS   BY    GIOVANNI 
ANTONIO     BAZZI,     CALLED     "  SODOMA." 

PARIS. 

Coll.  of  M.  Destailleur. 
The  Fall  of  Phaethon. 

Design  for  a  ceiling.  (See  Frizzoni,  Op.  cit., 
p.  149.)  Sold  at  M.  Destailleur's  sale  in  1896  for 
6  fr,  to  M.  Calendaudour,  and  has  since  disappeared. 

FLORENCE. 
Uffizl 

^^'\  Studies   of  many  figures.      Photographed    by 

;;  5^;|     j.  b.  Phiipot. 

,,    376.  S.Rock.     Photographed  by  J .  B.  Phiipot. 
,,    2957.  S.  John  the  Baptist.     Photographed  by  J.  B. 
Phiipot. 
All  these  have  disappeared. 

Lamponi  Sale. 

Half-length  -inale  figure. 

Attributed  to  G.  A.  Bazzi.     {L'Arte,  Jan.  to  April 

1903,  p.  n-) 

LONDON. 

Formerly  in  Sir  Thomas  Lawrence's  Coll.     (Dis- 
persed June  4th,  i860.) 
The  Head  of  the  Saviour.     Coloured  chalks.     Said 
to  be  a  fine  work. 
Attributed  to  Gio.  A.  Razzi  (sic).    (Christie's  Cata- 
logue, p.  51,  No.  699.) 
Two  heads  of  young  men.     Pen  and  ink. 

On  one  sheet.  Highly  finished.  Attributed  to 
G.  A.  Razzi  {sic).     (No.  700.) 

398 


AUTHORITIES   CONSULTED. 

ENGLISH. 

Baddeley,   St.    Clair   W.      Tchay   and    Chianti.       Sampson    Low 

Marston,  Searle  &  Rivington.     London,  1887. 
Berenson,  Bernhard.     The  Central  Italian  Painters  of  the  Renais- 
sance.    New  York  and  London  :  G.  P.  Putnam's  Sons.     1899. 
The  Florentine  Painters  of  the  Renaissance.      New  York  and 

London  :  G.  P.  Putnam's  Sons.     1900. 
The  Study  and  Criticism  of  Italian  Art  (Second  Series).    London  : 

George   Bell    &  Sons.      1902.     ("The  British  Museum  Raphael 

Cartoon"  and  "Rudiments  of  Connoisseurship.") 

The  Connoisseur.     January  1903.     London. 

The    Drawings    of    the    Florentine    Painters.      London :     John 

Murray.     1903. 
Brinton,  Selwyn.    The  Renaissance  in  Italian  Art.   Part  III.  London  : 

Simpkin,  Marshall,  Hamilton,  Kent  &  Co.,  Ltd.     1900.     Part  I., 

Section  II.,  1903. 
Cartwright,  Julia.     Isabella  d'Este,  Marchioness  of  Mantua,  1474 — 

1539.     London  :  John  Murray.     1903. 
CoLViN,  Sidney.     Catalogue  of  Drawings,  etc.,  exhibited  by  the  British 

Museum  Authorities  in  1895-6. 
Guide  to  an  Exhibition  of  Drawings  and  Engravings  by  the  Old 

Masters.    Principally  from  the  Malcolm  Collection.    London,  1895. 
Selected  Drawings  by  Old  Masters  in  the  University  Galleries  and 

in   the    Library   at    Christ    Church,  Oxford.     Oxford,  Clarendon 

Press  :  H.  Frowde.     1903. 
Crowe,  J.  A.,  &  Cavalcaselle,  G.  B.     A  New  History  of  Painting  in 

Italy  from  the  Second  to  the  Sixteenth  Century.     London :  John 

Murray.     1864-6.     3  vols. 
A  History  of  Painting  in  North  Italy  :  Venice,  Padua,  Vicenza, 

Verona,  Ferrara,  Milan,  Friuli,  Brescia.     London  :  John  Murray. 

187 1.     2  vols. 

Raphael :  his  Life  and  Works.     London  :  John  Murray.     1885. 

Cruttwell,  M.     Signorelli.     (The  Great  Masters  Series.)    London  : 

George  Bell  &  Sons.     1899. 
Douglas,  Robert  Langton.     Fra  Angelico.     London  :  George  Bell  & 

Sons.     1901. 

399 


400        AUTHORITIES   CONSULTED 

Douglas,    Robert    Langton.     History    of    Siena.     London  :    John 

Murray.     1902. 

The  Burlington  Magazine.     Vol.  I.,  No.  3.     London,  May  1903. 

Gardner,  Edmund  G.     Siena.     London:  J.  M.  Dent.     1902. 
Hastings,  Gilbert.      Two   articles  in  Marines   Quarterly,  London, 

January  and  April  1900. 

Siena :  its  Architecture  and  Art.    London :  De  la  More  Press.    1902. 

Hawthorne,      Nathaniel.       Transformation.       London :      Smith, 

Elder  &  Co.  1891. 
Hewlett,  Maurice.     Earthwork  out  of  Tuscany.     London :   J.  M. 

Dent.     1895. 

The  Quarterly  Review.     London,  July  1903. 

The  Road  in  Tuscany.     London  :  Macmillan.     1904. 

Heywood,  William.     Our  Lady  of  August  and  the  Palio  of  Siena. 

Siena:  Enrico  Torrini.     1899. 

A  Pictorial  Chronicle  of  Siena.     Siena:  Enrico  Torrini.     1902. 

Palio  and  Ponte.     An  account  of  the  Sports  of  Central  Italy  from 

the  Age  of  Dante  to  the  Twentieth  Century.    London :  Methuen  & 

Co.     1904. 

andL.  Olcott.     Guide  to  Siena.     Siena  :  Enrico  Torrini.     1903. 

Jameson,   Mrs.      legends   of    the   Madonna.      Boston :  Houghton, 

Mifflin  &  Co. 

Legends  of  the  Monastic  Orders.   Boston :  Houghton,  Mifflin  &  Co. 

Sacred  and  Legendary  Art.     Boston  :  Houghton,  Mifflin  &  Co. 

Layard,  Sir  A.  H.     Kiigler's  Italian  Schools  of  Painting.     London  : 

John  Murray.     1900. 
McCuRDY,  Edward.    Leonardo  da  Vinci.    (The  Great  Masters  Series.) 

London  :  George  Bell  &  Sons.     1904. 
MoRELLi,  Giovanni.     Italian  Masters  in  German  Galleries.     (Trans- 
lated by  Mrs.  L.  M.  Richter.)    London :  George  Bell  &  Sons.     1883. 

Ditto.     (Translated  by  Miss  C.  J.  ffoulkes.) 

MiJNTZ,  Eugene.    Raphael :  his  Life,  Work  and  Times.    (Translated  by 

Walter  Armstrong,  B.A.  Oxon.).  London  :  Chapman  «&  Hall.  1896. 
Murray,  A.  H.  Hallam,  Henry  W.  Nevinson  and   Montgomery 

Carmichael.      Sketches  on   the   Old   Road   through   France   to 

Florence.     London  :  John  Murray.     1904. 
Phillips,  Claude.     The  Magazine  of  Art.      London,  1894. 
Priuli-Bon,     Contessa.      Sodoma.      (The     Great    Masters  Series.) 

London:  George  Bell  &  Sons.     1900. 
Ricci,  CoRRADO.     Pintoricchio  :  his  Life,  Work,  and  Times.     (Trans- 
lated by  Florence  Simmonds.)     London  :  Heinemann.     1902. 
Correggio.      (Translated    by    Florence    Simmonds.)      London : 

Heinemann.     1896-7. 
Richter,  J.  P.     Vasari's  Lives  of  the  Painters.     (Translated  by  Mrs. 

Foster.)     Vol.  VI,,  Notes.     London  :  George  Bell  &  Sons.     1892. 
Louise  M.     The  Artist,  London,  Oct,  1901. 


ENGLISH  401 

RiCHTER,  Louise  M.     The  Connoisseur,  London,  Oct.,  Dec.  1902. 
Robinson,  J.  C.     Catalogue  of  Original  Designs  by  Michel  Angelo  and 

Raphael  in  the  University  Galleries,  Oxford.  Oxford:  J.Fisher.  1848. 
The  Drawings  by  Michel  Angelo  and  Raphael.    Oxford  :  Clarendon 

Press.     1870. 
RoscoE,  W.     Life  of  Leo  X.     London:  David  Bogue.     1846. 
Sharp,  W.     The  Art  Journal,  London,  1884. 
Swinburne,   Algernon  Charles.     Songs  before   Sunrise.     London, 

1868.     London  :  F.  S.  Ellis.     187 1.     London  :  Chatto  &  Windus. 

1894  and  1904. 
Essays  and  Studies  :    Notes  on  Designs  of  the  Old  Masters  at 

Florence.     2nd  Ed.     London:  Chatto  &  Windus.     1876. 
SvMONDS,  J.  Addington.     The  Renaissance  in  Italy.     London,  1877. 

Sketches  in  Italy,  "  Siena."     Leipzig  :  B.  Tauchnitz.     1883. 

New  Italian  Sketches,  "  Monte  Oliveto."     Leipzig  :  B.  Tauchnitz. 

1884. 
Tarver,  J.  C.     Tiberius  the  Tyrant.     Westminster  :  Archibald  Con- 
stable &  Co.     1902. 
Williams,  Egerton  R.,  Jun.     Hill  Towns  of  Italy.     Boston  and  New 

York  :  Houghton,  Mifflin  &  Co.     1903. 

Abridged  Catalogue  of  the  Pictures  and  Sculpture  in  the  Royal  Picture 

Gallery   (Mauritshuis)   The    Hague.     Hague :    National    Printing 

Office.     1899. 
Catalogues  of  the  Grosvenor  Gallery  (Winter  Exhibitions  of  Drawings 

by  the  Old  Masters),  1877-8,  1878-9. 
Catalogue  of  the  Exhibition  of  Early   Italian   Art,   1300-1550,  in  the 

New  Gallery,  1893-4. 
Catalogue   of  Pictures   exhibited   at  the   Burlington  Fine  Arts  Club 

(Lombardo-Milanese  Exhibition),  1898. 
Catalogue   of  the   Burlington    Fine   Arts   Club   (Sienese   Exhibition). 

London,  July  1904. 
Catalogue  of  the  National  Gallery,  London.     London,  1898. 
Catalogue  of  Drawings  by  Raphael,  etched  and  engraved.     Oxford : 

J.  Fisher.     1894. 
Catalogue  of  a  Hundred  original  Drawings  by  Raphael,  collected  by 

Sir  Thomas  Lawrence.     Exhibited  at  Messrs.  Woodburn's  Gallery, 

112,  St.  Martin's  Lane,  London.     London,  1836. 
Catalogue  of  the  same,  as  sold  by  Messrs.  Christie,  Manson  &  Woods. 

June  4th,  i860. 
Handbook    Guide  for  the  University  Galleries,  Oxford.      Oxford  :  J. 

Fisher.     1862. 
Letters  on  the  "  Leda "   of  Leonardo  da  Vinci.     (Published  in  the 

Athenceum,   September    17th   and    24th,    1898.)     Signed   Eugene 

Miintz,  W.  Roberts,  and  G.  A.  Simcox. 
The  Churchman,  New  York,  February  1901. 

26 


402        AUTHORITIES   CONSULTED 

FRENCH. 

Bartsch,  Adam.     Le  Peintre  Graveur.     Leipzig,  1808. 

Bertaux,  E.     Les  Saints  Louis  dans  I'Art  Italian.    La  Revue  des  Deux 

Mondes,  April  ist,  1900. 
Blanc,  Charles.      Le  Tresor  de  la  Curiosite.    Paris  :  Rdnouard.    1858. 
BouRGET,  Paul.     Sensations  d'ltalie.     Paris  :  Lemerre. 
Burckhardt,  J.     Le  Cicerone.     Paris  :  Firmin-Didot  et  Cie. 
Frizzoni,  Gustavo.     Exposition  des  Maitres  de  I'^cole  Lombarde  ^ 

Londres.     La  Gazette  des  Beaux  Arts,    November  1898. 
Geffrov,  a.      Une  vue  inddite   de  Rome  en   1459  in  Melanges  de 

G.  B.  De  Rossi  (Supplement  aux  Melanges  d'Arch^ol.  et  d^ Histoire, 

torn.  xii.).     Rome,  1892. 
Gillet,  Louis.     L'Art  Siennois  k  I'occasion  d'une  Exposition  Recente. 

Revue  des  Deux  Mondes,  September  15  th,  1904. 
Mariette,  p.  J.     Abecedario  {Archives  de  I'Art  Franfais)  par  Ph.  de 

Chennevriferes  et  A.  de  Montaiglon,  1858-9.  Paris:  Dumoulin.   1885. 
Mireur,  Dr.  H.     Dictionnaire  des  Ventes  d'Art  faites  en  France  et  k 

rfitranger  pendant  les  XVIII  &  XIX  Sibcles.      Paris  :  L.   Souille. 

1901.     London  :  Quaritch. 
MiJNTZ,  Eugene.     Histoire  de  I'Art  pendant  la  Renaissance.     Paris  : 

Hachette  &  Cie.     1895. 
"  Musee  de  L'Ecole  des  Beaux  Arts.     Nouvelles  Acquisitions." 

La  Revue  Encyclopidique  Larousse,  No.  238,  26  Mars,  1898. 
Passavant,  J.  I).     Raphael  d'Urbino.     Paris  :  Jules  R^nouard.     i860. 
QuAKANTA,    Bernard.     Le   Mystagogue.    Guide     Gen6-al  du  Musee 

Royal  Bourbon  de  Naples.     Naples,  1846. 
Reiset,  M.     Notice  des  Dessins,  etc.,  au  Mus^e  du  Louvre.     (La  Vie 

de  Giovanni  Antonio  Bazzi.)     Paris  :  Imprimeries  Reunies,  fitab- 

lissement  A.     1887. 
Rio,  a.  F.     De  I'Art  Chretien.     Paris  :  L.  Hachette  et  Cie.     1861. 
Richardson,  J.  (the  Younger).     Traite  de  la  Peinture  et  de  la  Sculpture. 

Amsterdam  :  Herman  Uytwerf.     1728. 
Sarnelli,    Pompeo.      Guide    des    Strangers     curieux     de    voir     et 

d'apprendre  ce  qu'il  y  a  de  plus  remarquable  dans  la  R.  Ville  de 

Naples.     Naples,  1702. 
SoMOF,  A.    L'Ermitage  Imperial.    Catalogue  de  la  Galerie  des  Tableaux. 

Premiere  Partie.     Les  ficoles  d'ltaUe  et  d'Espagne.     St.  Peters- 

bourg  :    La  Companie  d'Imprimerie  artistique.      Perspective  des 

Anglais.  28.     1899. 
Tauzia,  Vicomte  L.  Both  de.     Catalogue  des  Dessins  au  Musee  du 

Louvre.     1888. 
Thomas,  Dom.  G.  M.     L'Abbaye  de  Mont-Olivet-Majeur.     Florence  : 

Le  Monnier.     1881. 
TiMBAL.     La  Gazette  des  Beatix  Arts,  January  and  February  1875. 
ToNi.     (Euvres  Completes  de  Raphael  Sanzio.    Vol,  III.    Paris,  1844. 


FRENCH  403 

Livret  de   la   Galerie    Imp^riale  de  I'Ermitage   de   St.    P^tersbourg. 

St.  P^tersbourg  :  Edouard  Pratz  &  Cie.     1838. 
Recueil  d'estampes  d'apres  les  plus  beaux  Tableaux  et  d'apres  les  plus 

beaux  Dessins  qui  sont  en  France  dans  le  Cabinet  du  Roy ;  Celui 

de  Monseigneur  le  Due  d'Orleans  et  dans  d'autres  Cabinets,  divise 

suivant   les    differents    ;^coles   avec   un    Abrdg^   de   la   Vie   des 

Peintures,  et    une    Description  Historique    de    chaque   Tableau. 

Tome  premiere,  contenant  rEcole  Romaine.     Paris :  De  ITmpri- 

merie  Royale.     1729. 
Catalogue  des  Peintures,  Sculptures,   Dessins  et  Gravures  du  Musee 

de  la  Ville  de  Rennes.     Rennes :  Typo  Oberthur.     1863. 
Catalogue  des   Dessins  et  Objets  d'Art  legues  par  J.   B.  Wicar  k  la 

Ville  de  Lille.     Lille:  Lefebvre-Ducocq.     1856. 
Catalogue  de  Musee  Wicar,  Lille.     Par  H.  Pluchart.     Lille :  Imp.  A. 

Massart.     1889. 
Catalogues  de  Collection  de  Don  Marcello  Massarenti.     Rome,  1874, 

1877,  1882,  1894. 
Catalogue  des  Tableaux  et  Sculptures,  etc.,  du  Cabinet  de  feu  M.  le 

President  de  Tugny  et  de  celui  de  M.  Crozat.  Paris:  Delatour.  1751. 
Notice  des  Tableaux  et  Objets  d'Arts  exposes  au  Musee  Fabre  de  la 

Ville  de  Montpellier.     Montpellier  :  Imp.  Typo,  de  Gras.     1866. 
Catalogue  de  I'Exposition  des  Primitifs  Fran9ais  au  Palais  du  Louvre 

et  a  la  Bibliothbque  Nationale.     Paris.     Avril  1904. 
Catalogue  Sommaire  des  Dessins,  Cartons,  Pastels,  Miniatures  et  Emaux. 

Exposes     au     Musde   National   du    Louvre.      Paris :     Librairies- 

Imprimeries  R^unies. 
Catalogue    des    Peintures    de    la    (iallerie    Nationale    de   Budapest. 

Budapest:    Imprimerie  de  la  Soci^te  "Athenaeum."     1898. 

GERMAN. 

Bode,  W.     Beitrage  zu  Burckhardt's  Cicerone.     Leipzig,  1878. 

Italienische  Bildhauer. 

Repertorium  fiir  Kunstwissenschaft.    Band  XII.  Heft  i.     1889. 

Chledowski  Casimir.     Siena.     Berlin :  Bruno  Cassirer.     1905. 
FoERSTER,  Richard.   Farnesina-Studien.   Rostock :  Hermann  Schmidt. 

1880. 
"  Die  Hochzeit  des  Alexander  und  der  Roxana  in  der  Renaissance." 

Der    Jahrbtich     der     Konigl.     Preussischen     Kunstsainmlungen, 

Band  XV.     1894. 
Frizzoni,  Gustavo.     "  Giov.  Ant.  de  Bazzi."    Zeitschrift  fiir  Bildende 

Kunst.     1874. 

"Giovanni  Morelli  und  seine  letzten  Errungenschaften." 

Graul.     "  Des   Giovan   Antonio   de'    Bazzi    (Sodoma)     Vermahlung 

Alexanders   mit  Roxane."     Die    Graphische  Kunst.      XVI  Jahr. 

2  Heft,  S.  33.     1893. 


404        AUTHORITIES   CONSULTED 

Grimm,  H.     "  Die  Hochzeit  Alexanders  und  der  Roxana.  Kupfei'stich 

nach  dem  Gemalde  Sodoma's  von  Jacoby."    Detitsche  Rundschau. 

19  Jahrgang.  4.     1880. 
Hauser,  Friedrich.     Neuattische  Reliefs. 
Janitschek,  Ur.  Hubert.     Repertoriuin  fiir  Kunstwissenschaft,  Band 

VII.  Heft  4.     W.  Spemann.     Berlin  &  Stuttgart. 
Repertoriuin  fiir  Kunstwissenschaft,  Band  XIV.  Heft  4.     Wien : 

Ceroid  &  Co.     1891. 
Jansen,   Albert.      Leben   und   Werke   des    Malers   Ciovannantonio 

Bazzi   von   Vercelli   genannt   il   Soddoma.     Stuttgart :    Ebner   & 

Seubert.     1870. 
Koch,  Wilhelm.     Paris  vor  Helena  in  der  Antiken  Kunst.     Marburg, 

1889. 
KooPMANN,    W.    Jahrbiicher  der  Konigl.  Preuss.   Sammlungen,  Band 

XII.  Heft  I.  43,  44. 
Lubke,  W.     Crundriss  der  Kunstgeschichte. 
Meyer,  Dr.  Julius.     Allgemeines  Kiinstlerlexicon.     Berlin,  1885. 
Muller-Walde,  Paul.      "Beitrage  zur  Kenntniss  des  Leonardo   da 

Vinci."     Jahrbuch    der    Konigl.    Preussischen    Kunstsammlungen, 

Band  XVIII.  Heft  ii.,  iii.     Berlin,  1897. 
Passavant,  J.  D.      Raphael  von  Urbino   und   sein   Vater,  Giovanni 

Santi.     Leipzig:  Brockhaus.     1858. 
Philippi,  Adolf.     Die  Kunst  der  Renaissance  in  Italien.     "  Lionardo 

da   Vinci   und   seine   Schule."    Viertes    Buch.     Leipzig :    E.    A. 

Seemann.     1897. 
RiCHTER,  LuiSE  M.     Siena.     Leipzig  and  Berlin  :  Seemann.     1901. 

Zeitschrift fiir  Bildende  Ktmst.     Leipzig,  July  1901. 

RiEFFEL,  Franz.     Studien  aus  der  Mainzer  Gemaldegalerie  :  "  Eusebio 

Ferrari  und  die  Schule  von  Vercelli."     Repertoriuin  fiir  Kunst- 
wissenschaft, Band  XIV.,  p.  275. 
Rothes,  Walter  von.     Die  Bliithezeit  der  Sienesischen  Malerei  und 

ihre   Bedeutung   fiir   die   Entwickelung  der  Italienischen  Kunst. 

Strassburg  :  Heilz  &  Mundel.     1904. 
Rumohr,  C.  F.  von.     Italienische  Forschungen. 
ScHUCHHARDT,  Karl.      "  Sodoma's  Lucrezia  in  Kestner  Museum  in 

Hanover."    Jahrbuch  der  Konigl.  Preussischen  Kunstsammlungen, 

Band  XVIII.     1897. 
ScHMARZOW,   A.      Der   Freskenschmuck    einer   Madonnenkapelle    in 

Subiaco.    Berichte  iiber  die  Verhandlungen  der  Koniglich  Sach- 

sischen  Gesellschaft  der  Wissenschaften  zu  Leipzig,  Philologisch- 

Historische   Classe.     Band   III.    53.      Leipzig:    B,   G.   Teubner. 

1901. 
Steinmann,  Ernst.     Rom  in  der  Renaissance  von  Nicolaus  V.  bis 

auf  Leo  X.     Leipzig:  Seemann.     1902. 
SvBEL,  L.  VON.     Weltgeschichte  des  Kunst.     Marburg :  N.  G.  Elwert. 

1888. 


GERMAN  405 

Thausing.      Wiener  Abend  Post,  Dec.  1878.      Wiener  Kunst  Brief  en, 

p.  261.     Leipzig,  1884. 
Ullman,  H.     Notes  on  Sodoma,  in  his  own  copy  of  Frizzoni's  EArte 

Italiana  del  Rinascimento,    (Kunst-Historisches  Institut.  Florence.) 
ViscHER,  R.     Giovanni  Antonio  de'  Bazzi.     (Kunst  und  KUnstler  des 

Mittelalters  und  der  Neuzeit  von  Dr.  Robert  Dohme.)     Leipzig: 

E.  A.  Seemann.     1878. 

Giovanni  Antonio  Bazzi.     Das  Museum,  IV.  Jahrg.  S.  13. 

WoERMANN,   Karl.     Verzeichniss   der   Galerie   Weber   in    Hamburg. 

Dresden,  1892. 
100  Jahre  Italienische  Bildnissmalerei  von  1450 — 1550.     Berlin, 

1891. 
WoLTMANN,    A.,    and  Woermann,    Karl.     Geschichte   der   Malerei. 

Leipzig:  Seemann.     1882. 
Weigel,  Rudolph.     Die  Werke  der  Maler  in  ihren  Handzeichnungen, 

Leipzig,  1865. 
Weizsacker,  Heinrich.    Katalog  der  Gemalde-Gallerie  des  Stadelschen 

Kunstinstituts  in  Frankfurt  a/M.    Frankfurt :   August   Osterrieth. 

1900. 
WicKHOFF,    Franz.      Beitrage  zur  geschichte   der   Reproducirenden 

Kunst  Marcanton's  Eintritt  in  den  Kreis  Roemischer  Kuenstler. 

Wien,  1899. 
Waagen,    G.    F.      Kunstwerke   und   Kiinstler   in   England.      Berlin : 

Nicolaischen  Buchhandlung.     1839. 
Weese,  Arthur.     Baldassare  Peruzzi.     Antheil  an  dem  malerischen 

Schmucke  der  Villa  Farnesina,  nebst  einem  Anhange  :  II  taccuino 

di  Baldassare  Peruzzi  in  der  Comunal  Bibliotek  zu  Siena.     Ein 

Versuch.     Leipzig  :  K.  W.  Hiersemann.     1894. 

Die  Verzeichnisse  der   Stadtischen   Gemalde-Sammlung  in  Strasburg. 

Strasburg :   G.  Fischbach.     1899. 
Katalog   der   Gemalde-Sammlung    der   Kgl.  Aelteren   Pinakothek   in 

Miinchen.     Miinchen  :  Knorr  &  Hirth.     1896. 
Katalog  der  zum  Ressort  der  Kgl.  Verwaltungs-Kommission  gehorigen 

Sammlungen   von   Gemalden,    Skulpturen    und   Alterthiimern   in 

Provinzial-Museumsgebaude    an    der    Prinzenstrasse    No.    4    zu 

Hannover.     Hannover:    Klindworth.     1891. 
Fiihrer    durch    die    Gemalde-Galerie    zu    Wien.      Alte    Meister,     I. 

Italienische,  Spanische  und  Franzosische  Schulen.      Wien  :   Adolf 

Holzhausen.     1899. 
Beschreibendes  Verzeichnis  der  Gemalde  in  Kgl.  Museum  zu  Berlin, 

Berlin  :  W.  Speman.     1898. 
Katalog  der  Stadtischen  Galerie,  Mainz. 
Verzeichnis  der  Gemalde  des  Stadtischen  Museums  Wallraf-Richarz  zu 

Coin.     Coin:  Durch  die  Kolner  Verlags-Anstalt.     1902. 


4o6        AUTHORITIES   CONSULTED 

ITALIAN. 

Albertini,  Francesco.     Opusculum  de  Mirabilibus  Novae  Romae. 

Roma,  15  lo. 
Aloe,  Stanislas  d'.     Guida  di  Napoli.     Napoli,  1856. 
Amanti,    Bruto.      Giulia   Gonzaga,    Contessa   di   Fondi.      Bologna : 

Zanichelli.     1896. 
Amoretti,  C.     Memorie  Storiche  su  la  Vita,  gli  Studi,  e  le  Opere  di 

Lionardo  da  Vinci.     Milano,  1804. 
Ancona,  Alessandro   d'.      "Cecco  Angiolieri  da  Siena."     Nuova 

Antologia.     January  1874.     Vol.  xxv.  pp.  1-57. 

Origini  del  Teatro  Italiano.     Torino  :  Loescher.     1891. 

Angelis,    L.    de.      La   Vita    del    Beato    Pietro    Pettinaio.      Siena : 

Francesco  Rossi.     1802. 
Ragguaglio  del  Nuovo  Istituto  delle  Belle  Arti  di  Siena.     Siena, 

1816. 
Angelucci,  Colonello.     Esposizione  d'  Arte  Antica.     Torino,  1880. 
Aretino,  Pietro.     Lettere,     Parigi,  1609. 
Armenini,    Gio.    Battista    (Da    Faenza).     De'  Veri   Precetti   della 

Pittura.     Lib.  I.     Ravenna:  Francesco  Tebaldini.    1587.     (With 

notes  by  Stefano  Ticozzi.)     Milano  :  Vincenzio  Ferrario.     1820. 
Azeglio,  Marchese  R.  d'.     Reale  Galleria  di  Torino.  IV.     Torino, 

1836. 
Azzari,  Fulvio.     Compendio  Istorico  della  Cittk  di  Reggio.     Reggio  : 

Flaminio  Bartoli.     1623. 
Baistrocchi,  Romualdo.     MS.     Library  at  Parma 
Baldinucci,  Filippo.     Notizie  de'  Professori  del  Disegno.     Torino, 

1770. 
Baldoria,  Prof.  N.    "Monumenti  Artistici  in  San  Gimignano."   Archivio 

Storico  deir  Arte.     Fascicoli  i.,  ii.     Roma,  1890. 
Barbavara,  G.  C.     Brevi  Notizie  su  due  antiche  pitturi  Piemontesi. 

Estratto  dal  giornale  Arte  Sacra.     Torino :  Roux,  Frascati  &  Co. 

1898. 
Bardi,  Luigi.     Galleria  Pitti  di  Firenze.     Firenze,  1839. 
Baretti,  G.     Dizionario.     London,  1831. 
Bellini,  C.  A.     Serie  degli  Uomini  Grande  di  Vercelli.     MS.   1652. 

Archivio  Comunale  di  Vercelli,  with  marginal  notes  by  G.  A.  Ranza. 
Bertoletti,   a.     Artisti   Subalpini   in   Roma   nei   Secoli  XV,    XVI, 

XVII.     Ricerche  e  Studi  negli  Archivi  Romani.     Mantova,  1884. 
Bertoluzzi,  G.     Nuovissima  Guida  per  osservare  le  Pitture  si  a  olio 

che  a  fresco,  esistenti  actualmente  nelle  chiese  di  Parma.     Opera 

postuma.     Parma,  1830. 
Bertoluzzi,  Giuseppe.     MS.     Library  at  Parma. 
Bianchi,  Nicomede.     Le  Carte  degli  Archivi  Piemontesi.     1881. 
Bonanni,  Filippo.    Catalogo  delle  Qrdine  Equestri  e  Militare.    Roma, 


ITALIAN  407 

BoRGHESi,  S,,  and  Banchi,  L.     Nuovi  Documenti  per  la  Storia  dell' 

Arte  Senese.     Appendice  alia  Raccolta  dei  Documenti  pubblicata 

dal  Comm.  Gaetano  Milanesi.     Siena:  Torrini.     1898. 
BoRGHiNi,  Raffaello.     II  Riposo.      Firenze :    Marescoiti,  1582  and 

1584  ;  Firenze  :  Moucke,  1730;  Firenze:  Nestenus,  1738.     Siena: 

Pazzini,  1787.     Milano,  1807.     Reggio  :  Fracadori,  1827. 
Bosio,  C.  T.  Antonio.     Memorie  Storico-Religiose  e  di  Belle  Arti  del 

Duomo  e  delle  altre  Chiese  di  Chieri.     Torino  :  Collegio  degli 

Artigianelli.     1880. 
BoTTARi,  Mgr.  Giovanni.     Raccolta  di  Lettere  sulla  pittura,  scultura,  e 

architettura,  scritte  dai  piu  celebri  personaggi  dei  Secoli  XV.  XVI. 

e   XVII,  e  continuate  fino   a   nostri   giorni   da   Stefano   Ticozzi. 

Milano  :     Giovanni  Silvestri.     1822-5. 
Brigidi,  E.  a.     La  Nuova  Guida  di  Siena  e  dei  suoi  Dintorni.     Siena  : 

Enrico  Torrini.     igoo. 
Brogi,  F.     Inventario  Generate  degli  Oggetti  d'  Arte  della  Provincia 

di  Siena.     Siena  :  Carlo  Nava.     1897. 
Bruzza,    Padre   L.   (Barnabita).      Notizie   intorno    alia    Patria   e   ai 

Primi  Studi  del  Pittore  Giovan  Antonio  Bazzi  detto  il  Soddoma. 

(Estratto  dal  vol.  i.  della  Aliscellanea  di  Storia  Italiana.)     Torino  : 

Stamperia  Reale.     1862. 
Sugli   Storici   inediti   Vercellesi.     MS.    Biblioteca   Comunale   di 

Vercelli. 
Campori,  G.     Catalogo  Storico  degli  Artisti  Italiani  e  Stranieri  negli 

Stati  Estensi.     Modena :  R.  D.  Camera,  1855. 
Carotti,    Ur.    GiULio.      Catalogo  della   R.    Pinacoteca  di    Brera   in 

Milano.     Milano:  M.  Bellinzaghi.     1901. 
Capi  d'  Arte  appartenenti  a  S.  E.  La  Duchessa  Josephine  Melzi 

d'  Eril  Barbo.     Milano,  1901. 
Cave,  Philolauro  da.     Lode  delle  Donne  Senese.     Bib.  Com.  Siena. 

Siena,  December  5th,  1533. 
Cento fanti,  L.  Tanfani.     Notizie  di  Artisti.     Tratte  dei  Documenti 

Pisani.     Pisa,  1898. 

Notizie  Inediti  di  S.  Maria  del  Pontinuovo.     Pisa  :  Nistri.     187 1. 

Ciaccheri,  Abbate  G.     MS.  notes.     Bib.  Com.  Siena. 

Claretta,  Barone  G.     Piemonte  e  Siena.     Appunti  del  mio  Taccuino 

da    una    recente    peregrinazione    in    Toscana.      La  Letteratura, 

November    15th,    December    ist   and    15th.       Nos.    22,    23,    24. 

Torino,  1889. 
Colombo,  Padre  G.     Vita  di  Gaudenzio  Ferrari.     Torino,  1881. 

Notizie  inediti  dei  Artisti  Vercellesi.     Vercelli,  1883. 

Corpus  Inscriptionum  Latinarum.     Paris,  1874. 

Crowe,  J.  A.,  and  Cavalcaselle,  G.  B.     Raffaello,  la  sua  Vita  e  le  sue 

Opera.     Firenze  :   Le  Monnier.     1884.     2  vols. 
CuGNONi,  C.     "  Agostino  Chigi  il  Magnifico."     Archivio  della  Societa 

Romana  di  Storia  Romana.     Roma,  1878. 


4o8        AUTHORITIES   CONSULTED 

CusT,  R.  H,  HoBART.    "  Alcuni  Disegni  del  Sodoma."    Rassegna  d'Arte. 

Milano,  July  1905. 
D.  "  L'  affiesco  del  Sodoma  a   Montoliveto  fuori  Porta  S.  Frediano, 

Firenze."     Arte  e  Storia.    25  Gennaio,  1895.    Anno  XIV.  Num.  2. 
Uella  Valle,  Padre  G.     Lettere  Sanesi.     Notizie  di  Gio.  Ant.  Bazzi 

da  Vercelli,  vol.  iii.  pp.  229-80.     Notizie  di  Antonio  Barili,  vol.  iii. 

p.  323.     Roma:  Giovanni  Zempel.     1786. 
De  Rossi,  Ci.  B.     "  Di  un  Affresco  del  Sodoma  nel  Chiostro  di  Monte 

Oliveto     Maggiore,     rappresentante     una    prospettiva    del    Foro 

Romano."     (Estratto  del  Bidlettino  deW  Istituto  della  Corrispond- 

enza.)     Roma,  1887. 
DioNisoTTi,  Carlo.    Notizie  Biografiche  dei  Vercellesi  Illustri.  Biella  : 

G.  Amosso.     1862 
Memorie  Storiche  della  Citta  di  Vercelli.     Biella  :    G.  Amosso. 

1864. 
Dolce,  Lodovico.     Dialogo  della  Pittura.   "  L'  Aretino."     Biblioteca 

Rara,  vol.  .X.     Milano,  1863.    Venezia,  1557.    (Italian  and  French.) 

Firenze,  1735. 
DoNATi,  FoRTUNATo.      "  II  Palazzo  del  Comune  di  Siena."      Extract 

from  VArte  Antica  Senese.     Published  by  the  Commission  of  La 

Storia   Patria.     Siena:  Sordo  Muti.     1904. 
DoNi,  Anton  Francesco.     La  Libreria.     Venezia  :     Gabriele  Giolito 

de  Ferrari.     1558. 
Fagcio,  Cesare.    Giovan  Antonio  Bazzi  (II  Sodoma),  Pittore  Vercellese 

del  Secolo  XVI.     Vercelli:  Gallardi  &  Ugo.     1902. 
Ferrario.     Costume  antico  e  moderno.    Vol.  ix.  p.  40.     Torino,  1833. 
Ferri,  Marco.     Guida  della  Cittk  di  Siena  per  gli  amatori  delle  Belle 

Arti.     Siena,  1832. 
Ferri,  N.  P.     Catalogo  delle  Stampe  esposte  al  Pubblico  nella  Galleria 

degli  Uffizi  di  Firenze.     Firenze,  1881. 
Catalogo   di   disegni   dalla   R.    Galleria   degli   Uffizi  di  J'irenze. 

Roma,  i8go. 
Fontani,  F.     Viaggio  Pittorico  della  Toscana.     Firenze,  1827. 
Frizzoni,    Gustavo.     Nuova    Antologia,    August    1871.     Vol.    xvii. 

Firenze,  1871. 
"Intorno  alia  Dimora  del  Sodoma  a  Roma  nel  15 14."     Giornale 

di  Erudizione  Artistica.     Vol  i.,  pp.  208-13,   fasc.   vii.     Luglio, 

1872. 
CoUezione  di  Quaranta  Disegni  scelti  dalla  Raccolta  del  Senatore 

Giovanni    Morelli.      Riprodotti    in    eliotipia.      Milano :    Hoepli. 

1886. 
L'Arte  Italiana  del  Rinascimento.     Milano  :    Fratelli  Dumolard. 

1891. 
"  II  Sodoma,  Gaudenzio  Ferrari,  Andrea  Solari,  illustrati  in  tre 

opere  in  Milano,  recentemente  ricuperate."     Archivio  Storico  deW 

Arte.     Vol.  iv.     1893. 


ITALIAN  409 

Frizzoni,  Gustavo.     "  Disegni  d'  Antichi  Maestri."     (Estratto   dall^ 

Arte.     Anno  VIII.  fasc.  iii.,  iv.)     Roma  e  Milano,  1904. 

Rassegna  d'  Arte.     August  1904,  Jan.  1905.     Milano. 

FuMAGALLi,  Ignazio.     Scuola  di  Lionardo  da  Vinci  in  Lombardia. 
Gagnoni-Schippisi,    a.     Terre    Toscane.       Firenze :     Bemporad    & 

Figlio.     1902. 
Gamba,  Barone  F.     Abbadia  di  S.  Antonio  di  Ranverso.     Atii  delta 

Societa  d'  Archeologia  e  Belle  Arti.     Torino,  1876. 
Gave,  Dr.  Giovanni.     Carteggio  Inedito  d'  Artisti  di  Secoli  XIV,  XV, 

XVI.     Firenze,  1840. 
Gazzera,    C.      Memorie    Storiche    dei    Tizzoni,    Conti    di    Desana. 

Torino,  1842. 
Gigli,Girolamo.  DiarioSenese.  Siena:  G.Landi&N.Alessandri,   1854. 
Giovio,  Paolo.     Fragmentum   trium   dialogorum   Episcopi   Nucerini, 

quos  in  insula  x\enaria  a  clade  urbis  receptus  conscripsit.    Dialogus 

de    viris    Litteris   illustribus,    cui   in   calce   sunt   additse    Vincii, 

Michaelis     Angeli     et    Raphaelis    Urbinatis    vitae,    nella :     Vita 

Raphaelis.      Published    by  Girolamo  Tiraboschi  in    Storia  delta 

Letteratura  Italiana.     Milano  :  Niccolo  Bettoni.     1833. 
GoRi,  Pietro.  II  Giuoco  del  Calcio.  Firenze :  Bemporad  &  I^glio.   1898. 
Graf,  Arturo.     Attraverso  il  Cinquecento.     "  Un  Processo  a  Pietro 

Aretino."     "  Un  Buffone  di  Leone  X."   Torino  :  Loescher.     i888. 
Grassi.     Descrizione  di  Pisa. 
Gregory,  G.  G.  de.     Istoria  della  Vercellese   Litteratura  ed  Arte. 

Torino,   1820. 
Griffoli.     Val  di  Chiana.     Bozzetti  di  un  artista  di  Dozzina.     Siena  : 

Sordo  Muti.     1878. 
Grifi,  LuiGi.     L  Ape  Italiana.     Vols,  iv.,  v.     Roma,  1839. 
Gualandi,  Michelangelo.     Memorie  Originali  Italiane  Risguardanti 

le  Belle  Arti.     Serie  II.     Bologna,  1841. 
Jacobsen,  E.     La  Galleria  del  Castello  Sforzesco  di  Milano.     L  Arte. 

fasc.  ix.,  X.,  Settembre-Ottobre,  1901. 
Landi,  Alfonso.     Descrizione  del  Duomo  di  Siena.     MSS.  Bib.  Com. 

Siena. 
Lanzi,    Abbate    L.      Storia   Pittorica  dell'   Italia   dal  Risorgimento 

delle  Belle  Arti  fin  presso  al  fine  del  XVIII  secolo.      Venezia  : 

Pietro  Milesi,  1837.     (Edizione  corredata  dall  A.  de  Angelis.) 
LoESER,  Charles.     La  Galleria  di  Strasburgo.     Archivio  Storico  dell' 

Arte.     1896. 
LoMAZzo,  Gio.  P.     Trattato  dell'  Arte  della  Pittura  e  della  Scultura. 

Milano,  1584. 
Lucarelli,  Oderigi.     Guida  Storica  di  Gubbio.     Cittk  di  Castello: 

Lapi.     1886. 
Lugano,   Don  P.     "II  Sodoma  e  i   suoi  affreschi   a  Sant'  Anna  in 

Camprena  presso  Pienza."     Bullettinp  Senese  di  Storia  Patria,  Annq 

IX.  fasc.  ii,  Siena,  1902, 


4IO        AUTHORITIES   CONSULTED 

Lupi,  Clementi.     "  L'Arte  Senese  a  Pisa."     Extract  from  LArte  Antica 

Senese.    Published  by  the  Commission  of  La  Storia  Patria.    Siena  : 

Sordo  Muti.     1904. 
LusiNi,  ViTTORio.     La  Storia  della  Basilica  di  S.  Francesco  in  Siena. 

Siena:  Tip.  Archiv.  S.  Bernardino.     1894. 
Malvezzi,  Luigi.     Le  Glorie  dell'  Arte  Lombarda.     Milano  :  Giacomo 

Agnelli.     1882. 
Mancini,  Giulio.     Alcune  Considerazioni  intorno  a  quello  che  hanno 

scritto  alcuni  autori  in  materia  della  Pittura  si  abbino  scritto  beni  o 

mali,  et  appresso  alcuni  aggiungimenti  d'alcune  Pitture,  e  Pittori, 

che  non  hanno  potuto  osservare  quelli  che  han  scritto  per  avanti. 

Biblioteca  Comunale  di  Siena.      L.  IV.,  12.      Cod.  231.     Libreria 

Capponi,   pp.  73-78.     Benvoglienti  Miscellanea.     C.    IV.    28,  pp. 

252-4. 
Martini,  PiETRO.     Guida  di  Parma.     Parma:  P.  Grazioli.     1871. 
Mazzuchelli,  Giammaria.      Gli  Scrittori  d'  Italia  cioe  Notizie  Storiche 

e  Critiche  Intorno  alle  Vite,  e  agli  Scritti  dei  Letterati  Italiani. 

Brescia:  Gianbatista  Bossini.     1753. 
Melani,  Alfredo.     Manuale  della  Pittura  Italiana  Antica  Moderna. 

Milano :  Hoepli.     1902. 
Mella,  Conte  C.  E.  a.     Nelle  solenne  prima  Distribuzione  dei  premi 

agli  Alunni  della  Scuola  gratuita  di  Disegno.    AUocuzione.    Vercelli. 

1842. 
Merzario,  Prof.  G.     I  Maestri  Comacini.    Milano :  Giacomo  Agnelli. 

1893. 
MiLANESi,  Carlo.     Archivio  Stortco  Itahano.     Nuova  Serie,  vol.  ii. 
MiLANESi,    Gaetano.     Documenti   per   la   Storia   dell'  Arte   Senese. 

Siena:   Porri.      1856. 

MS.  Notes.     Bib.  Com.,  Siena. 

Mongeri,  Giuseppe.     Arte  in  Milano.     Milano.     1872. 

MoRANi,  E.  (d'  Ascoli).     Epigrammatu  Libri  duo.     Siena  :  Semione  de 

Nicolo,  Cartolaio.     15 16. 
Morelli,  Giovanni.     Delia  Pittura  Italiana.     "  Le  Gallerie  Borghese 

e  Doria  Pamphili  in  Roma."     Milano:  Fratelli  Treves.     1897. 
Moroni,  Gaetano.    Dizionario  di  Erudizione.   Venezia :  Tip.  Emeliana. 

1840-79.     109  vols. 
Morrona,  Alessandro  da.     Pisa  Illustrata  nelle  Arte  del  Disegno. 

Livorno.     181 2. 
Natali,  G.,  and  Vitelli,  E.    Storia  dell'  Arte.    Torino-Roma :  Roux  & 

Viarengo.     1903. 
Negri,  Cav.  F.     II  Santuario  di  Crea  in  Monferrato.     Alessandria : 

G.  M.  Piccone.     1902. 
"Una   Famiglia   d'   Artisti   Casalese   dei   Secoli  XV.    e  XVI." 

(Estratto  di  Rivista  di  Storia  Arte  e  Archeologia  della  Provincia 

d'  Alessandria,     Anno   L,    fasc.    ii.)     Alessandria :    Jacquemod. 

1902, 


ITALIAN  4" 

Orlandi,  Pellegrino.      Abecedario  Pittorico.     Bologna  :  Costantino 

Pisatti.     1704. 
Pacichelli,  Gio.  Bait.     Regno   di  Napoli  in  Prospettiva.     Napoli, 

1703. 
Pecci,  Cav.  Gio.  Ant.     Iscrizioni.    MS.    Biblioteca  Comunale,  Siena. 

Memorie  Storico-Critiche  della  Citta  di  Siena.     Siena,  1758. 

Pecori,  Can.  Luigi.     Storia  della  Terra  di  San  Gimignano.     Firenze, 

1853. 
Perego,  Don  Luigi  M.     Guida  lUustrata  di  Monte  Oliveto  Maggiore. 

Siena  :  Tip.  Arciv.  S.  Bernardino.     1903. 
Perini,  Giulio.    Lettera  sopra  I'Archenobio  di  Mont'  Oliveto  Maggiore. 

Firenze,  1788. 
Pezzana.     Storia  di  Parma.     Parma,  1837. 
PiccoLOMiNi,  Paolo.     La  Vita  e  1' Opera  di  Sigismondo  Tizio  (1458 — 

1528).     Roma:  Loescher.     1903. 
PucciNELLi,  Placido.     La  Nobilta  del   Notaio.     Milano  :  Malavolti. 

1654. 
Ragguaglio    delle    Cose    di    Siena.       MS.       Biblioteca    Comunale, 

Siena. 
Ranalli,  Ferdinando.     Storia  delle  Belle  Arti  in  Italia.     Firenze  : 

Le  Monnier.     1869. 

Prose.     Vol.  i.     Firenze  :  Pasquale  Pagni.     1838. 

Ricci,  Corrado.     II  Palazzo  Pubblico  di  Siena  e  la  Mostra  d'  Antica 

Arte  Senese.    Bergamo  :  Istituto  Italiano  d'  Arti  Grafiche. 

Rivista  (TArte.     Anno  II.     Nos.  10,  11  :  Firenze,  1904. 

Rio,  a.   F.     Leonardo  da  Vinci  e  la  sua  Scuola,     Milano :  Zaccaria 

Brasca.     1856. 
RiPETTi,  E.     Dizionario  della  Toscana.     1839. 
RoMAGNOLi,  Ettore.      Biographia  Cronologica  de'  Bellartisti  Senese 

da  Secolo  XII.  a  tutto  il  XVIII.     Autograft  donati  all  Biblioteca 

di  Siena  dal  Scrittore  nel  1835. 
Cenni  Storico-Artistici  di  Siena  e  suoi  Suburbi.     Siena :  Onorato 

Porri,  1840. 
RosiNi,    G.     Storia   della   Pittura   Italiana.      Pisa :    Niccolo   Capurro. 

1838. 
Rossi,  Pietro.     "  II   Pinturicchio  a  Siena."     (Estratto  dal  Bulletino 

Senese  di  Storia  Patria.     Anno  IX.  fasc.  i.)     Siena :  L.  Lazzeri. 

1902. 
"  II  'Sodoma'  nell' Arte  Senese."  (Estratto  AdX  Bullettino  Senese  di 

Storia  Patria.     Anno  X.  fasc.  iii.)     Siena,  1903. 
ScARABELLi   ZuNTi,    E.     Documenti   e   Memorie   di   Belle   Arti  Par- 

migiane.     1501-50.     MS.  Bib.  Com.  Parma. 
Spotorno,  G.  B.    Storia  Letteraria  della  Liguria.    Geneva :  Ponthenier. 

1826. 
Supino,    I.  B.     "L'Arte  del  Rinascimento  nella  Primaziale  di  Pisaf" 

Archivio  Storico  delf  Arte.     Roma,  Nov.,  Dec.  1893. 


412        AUTHORITIES   CONSULTED 

TiRABOSCHi,   G.     Storia   della   Letteratura    Italiana.     Modena,    1792; 

Milano :  Societa  Tip.  di  Classici  Italian!.    1826.    Milano  :  Niccolb 

Bettoni.     1833. 
TiTii,   SiGiSMUNDi.      Historiarum    Senensium.      Tomi    Dieci.    MSS. 

Biblioteca  Comunale  Siena. 
ToGNETTi,  A.     Guida  di  San  Gimignano.     Firenze  :  S.  Landi.     1899. 
TuRCHi,  Francesco.     Delle   Lettere   Facete  et  Piacevoli  di   diversi 

Huomini   Grandi    et    Chiari   et   Begli    Ingegni.      Raccolta    per 

M.  F.  Turchi.     Venezia  :  Salicato.     1601. 
Ugurgieri,  Padre  I.  Azzolini.     Le  Pompe  Senese.     Pistoia,  1649. 
Vasari,     Giorgio.      Le    Vite   de'  Piu    eccellenti   Pittori   Scultori  ed 

Architettori.     Firenze:  Sansoni.    1881.     Milano:  SocietaTip.de' 

Classici  Italiani.     181 1. 
Venturi,  a.     La  Reale  Galleria  Estense.     Modena,   1882. 

Various  articles  in  Archivio  Storico  dell' Arte  and  L'Arte. 

Catalogues  of  Roman  Galleries.     Rome:  Laziale.     1890. 

Zani,  D.  Pietro.     Enciclopedia  Metodica  Critico-Ragionata  delle  Belle 
Arti.     Parma,  1823. 

Archivio  Storico  dell' Arte.     1887-98. 

L'Arte.     1899 — 1905. 

Atti  e  Memorie  delle  R.  R.  Deputazioni  di  Storia  Patria  delle  Provincie 

Modenesi  e  Parmensi.     Modena,  1863. 
Compendio  delle  Discendenze  de'  Fratelli  Giovanni,  Bonifazio  e  Parigio 

de'Taccoli.     Reggio :  Vedrotti.     1741. 
Suburbanum  Augustini  Chisii  opus  per  Blasium  Palladium  impressum 

Romae    per    Jacobum    Mazochium,    Romanae  Academia  biblio- 

polam  anno  salutis  MDXIL 
De  Viridario  Augustini  Chigii  Patritii  Senen  vera  libellus  Galli  Egidii 

Romani  poe.  laur.  impressum  Romae   per   Stephanum  Guillireti 

et  Herculem  nani  consocios  anno  Domi  1511. 
Guida  della  Citta  di  Siena  per  gli  Amatori  delle  Belle  Arti.     Siena : 

Marco  Ferri.     1832. 
La  Galleria  di  Firenze.    Relazione  al  Ministro  della  Pubblica  Istruzione 

in  Italia.     Firenze:  M.  Cellini  &  Co.     1872. 
Le  Gallerie  Nazionale  Italiane.     Notizie  e  Documenti.     Roma,  1896. 

Anno  II.,  III. 
Giornale  Illustrata  dell'  Esposizione  d'  Arte  Sacra  a  Torino.     Torino : 

Roux,  Frassati  &  Co.     1899. 
La  Sesia.     Giornale  della  Cittk  e  del  Circondario  di  Vercelli.     Anno  V., 

No.  50.     Vercelli,  10  Dicembre,  1875. 
La  Scintilla.     Rivista  Letteraria.     Venezia,  Giugno  7.     1891. 
Le  Cento  Citta  d'  Ltalia.     (Supplemento  mensile  illustrato  del  Secolo.) 

Anno  XXXIV.     Milano,  1899. 
La  Reale  Galleria  di  Torino.     Torino,  1846. 
Jl  Museo  di  Pittura  e  Scultura.     Firenze  :  Fumagalli.    1840. 


ITALIAN  413 

Supplemento  alia  serie  dei  trecento  elogi  ecc.    Firenze :  Allegrini.    1776. 
La  Serie  degli  uomini  i  piii  illustri  nella  pittura,  scultura  e  architettura 

con  i  loro  elogi  e  ritratti. 
La   Serie   de'  ritratti   de'  pittori   che   da   se   stessi  si  dipinsero   nella 

R.  Galleria  di  Toscana. 
La  Reale  Galleria  di  Firenze  Illustrata.     Firenze,  181 7. 
Raccolta  delle  piti  Celebri  Pitture  esistenti  nella  Citt^  di  Siena,  Disegnate 

ed  incise  da  valenti  artisti.     Firenze  :  Niccolo  Pagni.     1825. 
Catalogo  della  R.  Pinacoteca  di  Torino.     Torino  :  V.  Bona.     1899, 
Catalogo  Generale  del  Esposizione  Italiana  dell'  Arte  Sacra  a  Torino. 

1898. 
Catalogo  della  Vendita  di  Monte  di  Pietk,  Roma.     Roma,  1875. 
Catalogo  della  Galleria  del  fii  Marchese  Rinuccini.     (N.D.) 
Catalogo  Generale   dei   Quadri   e   disegni   della   Gallerie  Rasponi  di 

Ravenna.     Ravenna,   1879. 
Catalogo  dei  Quadri  della  Galleria  Carrara  in  Bergamo. 
Catalogo  della  Galleria  legata  alia  Accademia  Carrara  di  Belle  Arti  da 

Sen.  Dott.  Giovanni  Morelli.     Bergamo,  1892. 
Catalogo  dei  Disegni  originali  venduti  da  Guglielmo  Piatti  in  Firenze. 

1831. 
Catalogo  dei  Quadri  e  statue  esistenti  al  piano  terreno  e  primo  piano 

del  Palazzo  di  No.  2,  Via  Castelli,  Livorno.      Livorno :  Meucci. 

1884. 
Catalogo  dei  Quadri  del  Dott.  Giacomo  Peirano  esposti  in  Torino  nel 

CasteJlo  del  Valentino.     Genova,  1884. 
Catalogo   Generale   della    Mostra  dell'  Antica   Arte   Senese,     Aprile- 

Ottobre  1904. 


INDEX 


Abbadia  di  S.  Antonio  di  Ranverso 
e  Defendente  de  Ferrari  da  Chi- 
vasso,  by  Barone  Francesco  Gamba, 
44  (note  ^). 

Abbaye  de  Motit-Olivet-Majeur,  L\ 
by  Dom.  Gregoire  Thomas,  89 
(note  -). 

Acharigi,  Alfonso  di  Francesco — 
Cappella  di  Piazza,  Siena,  208,  320, 
322. 

Adoration  of  the  Magi,  The,  216-19, 
329,  344 ;  Comparison  with  Ma- 
donna and  Child  with  Saints  at 
Sinalunga,  221  ;  Portrait  of  Bazzi, 
217,   252  ;    Studies,   219,   344,  362, 

363- 
Aetion — Picture    of  Alexander    and 

Roxana,  138  (note  ^). 
Age  of  Bazzi,  Vasari's  reckoning,  8, 

201  (note  *). 
Agnolo  di  Donnino,  no. 
Agnolo  di  Tura — Cronaca,  205(note^). 
Agony  in  the  Garden,    The,  Fresco, 

184,  185,  344. 
Agostino  Chigi  il  Magnifico,  bj'  C. 

Cugnoni,  108  (note  *),  132  (note  •). 
Ajazza    Family — Paintings    commis- 
sioned by,  33,  39,  265. 
Alba  :  see  Macrino  d'Alba. 
Albertini,  Francesco — Optisculnm  de 

Mirabilibus  Novce  et  Veteris  Urbis 

Roma,  109  (note  ^). 
Alexander    and    Roxana    Idyll :    see 

Farnesina  Frescoes. 
Alladio,  Gian  Giacomo  de  :  see  Macrino 

d'Alba. 
Allegorical  Cycle,  85,  86. 


Allegretti — Diario,  207  (note). 

Allgemcines  Kimstlerlexicon,  by  Dr. 
Julius  Meyer,  82  (note  ^),  115 
(note  '),  195  (note  ^). 

Ancona,  Alessandro  d' — Origini  del 
Teatro  Italiano,  289-90  (note) ; — 
Studii de  Critica  e  Storia  Lettera?ia, 
23  (note  ^). 

Angelis :  see  De  Angelis. 

Angiolieri,  Cecco  —  Nickname,  23 
(note). 

Animals — Bazzi's  love  for  ("  Noah's 
Ark  "),  63-5,  92-3 ;  paintings  of,  93, 
99,  143,  145,  198,  345. 

Annunciation,  The  —  Painting  on 
Glass,  by  Martino  Spanzotto,  50. 

Anselmi,  Michel  Angelo,  Pupil  of 
Bazzi  and  Correggio,  97,  166,  167, 
211  (note  3),  239,  250,  344. 

Antiquarie  prospettiche  Romane,  80. 

Appellations — Bazzi,  name  of:  see 
that  title ;  "  Cavaliere : "  .y^^  that  title ; 
"  Count  Palatine:"  see  that  title  ;  "il 
Mattaccio"  {Matazo),  17, 65,94,  269; 
Official  entries,  2-4,  17-20,  95,  108 
(note  2),  116  (note  '),  117,  118,  121, 
150.  151.  1 55.  159.  163,  164,  and 
passim ;  Sodoma  sobriquet :  see  that 
title  ;  Tizoni,  2-4,  159,  228,  295. 

Appiani,  Padre  Paolo  Antonio — 
Ateneo  Ascolano,  153  (note  ^). 

Apprenticeship  —  Bazzi  to  Martino 
Spanzotto,  5,  29-32,  39,  49,  155, 
257  ;  Matteo  Balducci  to  Bazzi,  32, 
155  et  seq. 

Archivio  Civico  di  Casale — Pietro 
Spanzotto,  35  (note  ^). 

15 


4i6 


INDEX 


Archivio  Civico  di  Vercelli — Refer- 
ences to  Bazzi  Family,  9  (notes  ', 
»,  *),  10  (notes  ',  2),  28,  30  (note  ^\ 
31  (notes  \  ^),  32  (note  '),  33  (note  ^), 
53  (note  ^),  54  (note  i),  55  (notes  S  ^), 
256,  257-60;  references  to  Martino 
Spanzotto,  33  (note  «),  34  (note),  35 
(notes  1,  *,  %  39  (notes  S  ^  ^),  40 
(note  *),  257,  265. 

Archivio  Comunale  di  Chivasso — 
Costantina  de  Spanzotis,  41  (note  ^). 

Archivio  del  Conte  Asinari  di 
Camerano — Painting  by  Martino 
Spanzotto,  41  (note  '). 

Archivio  dell'  Opera  del  Duomo  di 
Siena — References  to  Bazzi  and 
his  work,  19  (note  *),  125  (notes ',  ^), 
186  (note  ')  2c6  (note  '),  207 
(notes  *,  ^),  209  (note  '),  21 1  (note '), 
213  (note  ^),  225  (note),  325. 

Archivio  della  Curia  Arcivescovile — 
Visitation  of  the  Church  of  S. 
Francesco,  Siena,  by  Monsignore 
Francesco  Bossio,  71,  87  (note  i). 

Archivio  del  Opera  del  Duomo,  335 
(note  »). 

Archivio  di  Stato  di  Firenze — Car- 
teggio  Mediceo  privato,  18  (note  ^), 
122,  289;  S.  Anna  in  Creta  fres- 
coes, 75  (note  %  77  (note*),  268. 

Archivio  di  Stato  di  Pisa — References 
to  Bazzi,  3,  229  (notes  ^  ^  *),  230 
(notes  1,  *),  231  (notes  \  *)  232 
(notes  *,  ^),  233 ;  Archivio  degli 
Spedali  Riuniti :  S.  Maria  della 
Spina — Painting  by  Bazzi,  233 
(note  •%  234  (note  »),  335,  336 
(note  1) ;  Archivio  del  Capitolo, 
Pisa — Picture  by  Bazzi,  334 ;  Ar- 
chivio del  Opera  del  Duomo,  335 
(note  1). 

Archivio  di  Stato  di  Roma — Pier 
Antonio  Spanzotto,  37  (note  ^),  38 
(notes  ^  *). 

Archivio  di  Stato  di  Siena — Refer- 


ences to  Bazzi  and  his  work,  8 
(note  *),  19  (note  ^)  93  (note  ^),  107 
(note  2),  1 16  (note  "),  117  (notes  ^  % 
1 18  (note  ^),  125  (note  ^),  130  (note  1), 
150 (note  1),  1 56 (note ^)  158 (note'), 

171  (note  ^),  172  (note  *),  192 
(notes  *,  ^),  193  (note  *),  194  (notes 
^f  ^  *)i  199  (note  2),  200-203  (notes 
passim),  208  (notes  ^,  ^,  *),  210 
(notes  S  ^  *),  212  (note  *),  213 
(note  *),  222  (note  1),  223  (note  1), 
225  (note  ^),  237  (note  ^),  262,  269, 
295,  307-14.  315-18,  320-S,  325-8; 
Archivio  del  Patrimonio  dei  Resti 
Ecclesiastici — References  to  Bazzi 
and  his  work,  2  (note  ^),  130  (note  ^). 

1 72  (note  %  1 83  (note  *),  1 86  (note  3), 
197  (note  1),  298-303. 

Archivio  di  Stato  in  Mantova — 
Bazzi's  Letter  to  the  Marquis  of 
Mantua,  151  (note  *),  162-3,  296. 

Archivio  Estense  (di  Stato)  in  Modena 
— Bazzi's  Letter  to  the  Duke  of 
Ferrara,  152  (note  1),  162-4,  297. 

Archivio  Notarile  Provinciate  di 
Siena — Bazzi  and  his  work,  refer- 
ences to,  4  (note  1),  19  (note  *),  20 
(note  1),  32  (note  *),  59  (note  % 
96  (note  ^),  116  (notes  S  *),  117 
(notes  »,  ^),  121  (note*),  155  (note^), 
1 86  (note*),  187  (note  *),204  (note  ^), 
208  (note  \  216  (note  *),  222 
(notes  ^  2),  224  (note  %  237  (note  ^), 
285,  286,  288,  289,  293,  303,  304-7, 
318-20,  329.  332-4,  337;  Brazzi, 
Lorenzo,  242  (note  ^);  Family 
Pedigrees  of  Bazzi  and  Galli,  256, 
286 ;  Magagni,  Girolamo,  240 
(notes  ^  *). 

Archivio  Storico  delV  Arte,  33  (note  *), 
351.  352,  353.  354.  357,  359,  380, 
381,  387,  388. 

Archivio  Storico Italiano,  167 (note*). 

Arduini,  Giovanni  and  Arduino — Law- 
suit with  Bazzi,  216,  329,  345. 


INDEX 


417 


Aretino,  Pietro,    146;  letters,    153-4, 

235.  336. 
Armenini      da      Faenza,      Giovanni 

Battista — Dei    Veri  Precetti  delta 

Pitiura,  6  (note  ^),  198,  314. 
Armstrong,      W.  —  Translation      of 

Raphael    by    Eugene    Miintz,    62 

(note  «). 
Arrian — Anabasis.       Inspiration    for 

Fresco  of  The  Family  of  Darius 

before  Alexander,  144  (note  *). 
Arts — Trade    Guilds    designated    as 

"  Fine  Arts,"  29  ;  Vercelli,  revival 

in,  35,  40 :   for  special   artists  see 

their   names,   also  titles  Pictures, 

Painting. 
Arte,    Z,' — References      to     Bazzi's 

Paintings,  60  (note  *),    114  (note), 

166  (note  2),  353,  355,  369,  398. 
Arte  del  Rinascimento  nel  Primaziale 

di  Piza,  U  :  see  Supino. 
Arte  e  Storia — Notice  by  Frizzoni, 

388 ;  notices  by  Diego  di  S.  Am- 

brogio,  46  (note  1),  123  (note  1). 
Arte  in  Milano,  by  Giuseppe  Mongeri, 

37  (note  »). 
Arte  Italiana  del  Rinascimento,  L' : 

see  Frizzoni. 
Artist,  The,  66  (note). 
Artisti  Lombardi  a  Roma,  nei  Secoli 

XV,    XVI,     and    XVII,     by     A. 

Bertoletti,  5  (note). 
Artisti   Subalpini   a    Roma,    by  A. 

Bertoletti,  37  (note  ^). 
Ascarelli,      Camillo  —  Cappella      di 

Piazza,  Siena,  208,  320,  322. 
Ascension,  The — Castello  diTrequanda 

Fresco,  200  (note  1),  215,  350. 
Assumption    of  the    Virgin,    The — 

Banner  by  Bazzi  in  S.  Domenico, 

183,  343:   Fresco,    S.   Bernardino, 

199,   215,    296,    342;    Picture    by 

Matteo  Balducci,  157. 
Asti — Genealogy    of  the    Madonna, 

46  (note  *). 


Asti,    Bartolommeo    da — Brazzi's  (il 

Rustico)  lawsuit,  242. 
Attraverso  il  Cinquecento ;  Un  Pro- 

cesso  a  Pietro  Aretino,  by  Arturo 

Graf,  146  (note  i). 
Authors — Want   of  reflection,   hasty 

statements,  etc.,  82. 


Baistrocchi,  Romualdo,  MSS.  at 
Parma,  97  (note  ^). 

Baldinucci,  Filippo  —  Notizie  dei 
Professori  del  Disegno,  8  (note  *). 

Balducci,  Matteo  —  Apprenticeship, 
32,  155.  158,  239;  articles,  293; 
identity  and  work,  1 56-8. 

Balducci,  Matteo,  pupil  of  Pin- 
toricchio  —  Identity  and  work, 
156-8. 

Banchi,  Signor  L. :  see  Nuovi  Docu- 
menti. 

Bandinelli,  Baccio — Sketch  for  Rox- 
and!sbed,  attributed  to,  140  (note  ^) 

Bandinelli,  Belisario  di  Guido — 
Cappella  di  Piazza,  Siena,  208,  320, 
322. 

Bandinelli,  Conte  Marcantonio — Re- 
moval of  frescoes  by  Bazzi  to 
place  of  safety,  184,  344. 

Bandini-Piccolomini  tomb — Statue  of 
The  Risen  Christ,  \-i(3. 

Banners — Assumption,  The,  S.  Do- 
menico, 183,  343  ;  Madonna,  S.  Ber- 
nardino, 370;  Montalcino,  347,  375  ; 
Pisa,  banners  for  the  Opera  del 
Duomo,  232  ;  6".  Sebastian  banner : 
see  that  title. 

Baptismal  certificate  of  Bazzi,  alleged 
to  be  at  Pienza,  7. 

Barbavara,  Giuseppe  Cesare — Genea- 
logy of  the  Madonna,  by  Gandol- 
fino  di  Roretis,  46  (note  1). 

Bardi,  Agostino— Facade  of  house, 
122,  288,  384;  owner  of  racehorses, 
120,  121,  290,  291. 

27 


4i8 


INDEX 


Barili,     Antonio — Frames,     67,     68, 

384- 
Battle  of  Anghiari,  The,  by  Leonardo, 

99  (note  ^). 
Battle  of  Camollia,  193  (note  -),  205. 
Battle  of  Campaldino,  124  (note  i). 
Baudi  di  Vesme,  Conte  Alessandro, 

33   (note  2),    34,   36   (note   i),    37 

(note  \  39  (notes  1,  %  43,  44,  49 

(note  ^),  267  (note). 
Bazzi,  Amedea  (sister) — Birth,  9,  31, 

256;    consent    to    deed,    54,    256; 

marriage,  53. 
Bazzi,  Angelina  (mother),  9,    10,  31, 

53.  54,  256. 
Bazzi,    Antonio  de  (grandfather),  9, 

256. 
Bazzi,  Apelles  (son),  116,  256. 
Bazzi,    Beatrice    de'   Galli     (wife) — 

Legendary  portrait,  89 ;   marriage, 

115.  I33»  contract,  285;  official 
records  of,  19,  116,  191  (note  ^), 
225,  237,  306,  337 ;  pedigrees,  256, 
286 ;  property  left  by  her  mother, 

116,  222;  separation  from  Bazzi 
alleged,  19,  20,  237. 

Bazzi,  Faustina  (daughter) — Birth, 
116;  legendary  portrait,  90 ; 
marriage,  14,  97  (note  ^),  223,  224, 
237,  244,  256. 

Bazzi,  Maestro  Giacomo  de  (father) — 
Apprenticehip  to  a  Guild,  9,  29 ; 
birthplace,  9,  30 ;  death,  53 ;  home 
at  Vercelli,  9,  28,  30 ;  name,  2 ; 
social  condition,  erroneous  state- 
ments as  to,  29,  30;  will,  9,  30, 
256,  258-60. 

Bazzi,  Niccold  (brother) — Birth,  9,  31, 
256 ;  extravagance,  53 ;  lawsuit, 
55  ;  marriage,  2  (note  i),  55  ;  men- 
tion of  in  Archives  of  Vercelli,  28  ; 
takes  possession  of  his  brother 
Giovanni  Antonio's  patrimony,  54. 

Bazzi  family — Documents  relating  to, 
28,  53,  55  ;  innuendos  against,  188; 


pedigree  of  the  family  of  De  Bazis, 
256. 

Bazzi,  Name  of— Others  bearing 
name,  167,  168  (note  1) ;  paternal 
name,  2  ;  variations  of  name,  2. 

Beauregard,  Count  Costa  de — Picture, 
87,  357. 

Beccafumi,  Domenico  ("  Del  Pace  "), 
145  (note  1)  ;  bier  for  Compagnia 
della  SS.  Trinita,  171  (note  3),  172  ; 
contrasted  with  Bazzi,  1 5 ;  fame, 
225;  frescoes,  122,  159;  influence 
of  Bazzi  on,  161 ;  life  of,  by  Vasari, 
16  (note  2),  61  ;  Palazzo  Pubblico. 
Siena,  at,  192  ;  petition  re  picture 
for  Francesco  Petrucci,  186,  187, 
303,  304  ;  rivalry  with  Bazzi,  227 ; 
6*.  Sebastian  banner,  completion  of, 
173,  351  ;  valuation  of  frescoes  by 
Bazzi,     194,    210,    307,    308,    310, 

325- 

Bellini,  Carlo  Amedeo,  34  (note). 

Benzi  Family — S.  Catherine's  Chapel 
in  S.  Domenico,  Siena,  175,  176. 

Berenson,  Bernhard — Bazzi  and  his 
work,  51  ;  drawing  in  Uffizi,  61 
(note  ^) ;  references  to  in  Draw- 
ings of  the  Florentine  Painters, 
99  (note  1),  115  (note  2),  174  (note  i), 
180  (note),  355,  378,  383,  397. 

Bergamo— Pictures,  170  (note  ^),  353, 

379- 
Berlin — Pictures   and   drawings,  49, 

67,  85,  197,  345,  356.  367,  380,  394. 
Berna — Painting    attributed    to,    182 

(note  *). 
Bernazzano — Landscape   painter,   85 

(note  '). 
Bertano,     Giovanni     Battista— Far- 

nesina  Frescoes  attributed  to,  148 

(note). 
Bianchi,  Nicomede — Le  Carte  degli 

Archivi  Piemontesi,  36  (note  ^). 
Biandrate — Native  place  of  Giacomo 

Bazzi,  9,  30,  55. 


INDEX 


419 


Biers  painted  for  churches  and  con- 
fraternities, 171,  172,  183,  343,  346, 
372,  373,  374  ;  documents,  298-300. 

Biografia  Cronologica,  etc.  :  see 
Romagnoli. 

Biografia  degli  Scrittori  Sanest,  by 
Padre  Luigi  De  Angelis,  217  (note  ^). 

Biringucci,  Vannoccio  di  Paolo— 
Arbitrator  re  valuation  of  The 
Adoration  of  the  Magi,  216  (note  *), 

329- 

Birthplace  of  Giovanni  Antonio  Bazzi, 
I,   6,  7,  8,  30,  31,  56,  57. 

Bode,  Dr. — The  Portrait  of  a  Lady 
at  Frankfurt  a/M.,  60  (note  '),  356. 

Boltraffio — Painting  of  6".  Scholastica, 
78 ;  pupil  of  Leonardo,  57. 

Bonajuti,  Lattanzio,  224  (note  '). 

Bonelli,  Niccolo  di  Lorenzo,  191 
(note  -),  240,  306. 

Bordone,  Paris — The  Portrait  of  a 
Lady  at  Frankfurt  a/M.,  attributed 
to,  60,  356. 

Borghesi,  S.,  Nuovi  Documenti :  see 
that  title, 

Borghini,  Raffaello — //  Riposo,  7. 

Borgogna,  Cav.  Aw.  Antonio,  52 
(note  '),  70  (note  %  354. 

Bosio,  C.  T.  Antonio  —  Memorie 
Storico-religiose  e  di  Belle  Arti 
del,  etc.,  43,  45  (note). 

Bossi,  Giovan  Battista  del  Ubertino — 
Marriage  of  his  daughter  to  Niccolo 
Bazzi,  55. 

Bossio,  Monsignore  Francesco — 
Visitation  of  Church  of  San  Fran- 
cesco, Siena,  71,  87  (note). 

Bottari,  Monsignore — Frescoes  in 
Cappella  di  Piazza,  Siena  ;  Inscrip- 
tion, 211,  212;  L^ttere  Pittoriche, 
67  (note  »),  126  (note  ^),  238. 

Bourget,  Paul — Sensations  d'Ltalie, 
105. 

Bramante — Influence  of,  83,  1 10. 

Bramantino,  no. 


Brandolini,   Francesco,   Prior   of  the 

Olivetan  Convent  at  Florence,  17, 

122. 
Brazzi,  Lorenzo   ("il  Rustico"),   168 

(note  1),  241,  242. 
Brogi,  Y .—Inventario  Generate  degli 

Oggetti   d'Arte   etc.,    81    (note  '), 

passim  in  Picture  Lists. 
Bruzza,  Padre  Luigi — Notizie  intorno 

alia  patria  e  ai  primi  studi,  etc., 

references    to    Bazzi,     i,    4,    8,    9 

(note   1),   28,   30  (note  i),   31,    53 

(note  »),  87,  257  (note  1),  263,  357  ; 

references  to  Spanzotto,  33,  34,  35 

(notes  S  '),  267. 
Bugiardini,  no. 
Bulletino  Senese  di  Storia  Patria,  11 — 

Lugano,    Padre    Piacido,    75,    'j'j ; 

Massera,  A.  F.,  23  (note  1)  ;  Rossi, 

Pietro,  5 1  (note  '),  70  (note  i),  86. 
Buoninsegni,    Alessandro — Letter  to 

his  brother  Bernardino  announcing 

death  of  Bazzi,  8,  213,  237. 
Buoninsegni,    Conte    Bernardino    di 

Filippo — Decoration   of   the  Porta 

Pispini,  Siena,  201,  318. 
Buoninsegni      Family     Chapel,      87 

(note  1). 
Buonsignori,  Conte  di,  208,  321. 
Burckhardt,   //  Cicerone,  60  (note  '), 

356,  377. 

Burlesque  catalogue  of  Bazzi's 
possessions,  22,  260-4. 

Burlington  Magazine,  The — Refer- 
ences to  Bazzi,  4  (note  '),  175 
(note^),  181  (note  «). 

Calendar — Reckoning  in  Pisa,  227 
(note  ^). 

Camollia,  Battle  of,  193  (note  *),  205. 

Campana,  Niccolo  —  Cappella  di 
Piazza,  Siena,  208,  321. 

Campori,  Marchese  Giuseppe — Docu- 
ments discovered  referring  to  Bazzi, 
164  (note  1),  167,  168. 


420 


INDEX 


Caporali,  no. 

Cappella  di  Piazza,  Siena — Build- 
ing, restoration,  etc.,  205-8 ;  docu- 
ments re  frescoes,  318-25,  execu- 
tion, delays,  208-10,  restoration, 
211,  study  for,  362,  valuation,  210, 
324.  325,  342. 

Caraglio,  Jacopo — Engraving  oi  Mar- 
riage of  Alexander  and  Roxana, 
139  (note  '). 

Carte  degli  Archivi  Piemontesi,  Le : 
by  Nicomede  Bianchi,  36  (note  '). 

Cartwright,  Julia — Horses  presented 
to  Henry  VIH.  by  Francesco  Gon- 
zaga,  121  (note  ^). 

Casale  Monferrato,  32,  34,  35,  36, 
40,  41,  46,  50. 

Castiglioni,  Camillo — Embassy,  38. 

Cavalcaselle :  see  Crowe,  J.  A,  and 
G.  B.  Cavalcaselle. 

"  Cavalier  of  Christ " — Award  of  title, 
20,  70;  official  records  of  title,  151, 
152,  153,  155  (note »),  159,  212,  228, 
229  (note  *). 

Cave,  Phylolauro  da  :  see  Phylolauro 
da  Cave. 

Cazerini,  Giuliano  di  —  Marries 
Albina  Spanzotto,  38. 

Cecco,  Giovanni  di  —  Designs  for 
Cappella  di  Piazza,  Siena,  207. 

Cellini^  Benvenuto,  La  Vita  di — Refer- 
ence to  Eurialo  Morani  d'  Ascoli, 
1 54  (note  1). 

Cennini,  Cennino  —  Trattato  delta 
Pittura,  15. 

Cento  Cittd  d'  Italia,  81. 

Centofanti  :  see  Tanfani  Centofanti. 

Cervelliera,  Battista  del — Life  of,  228 
(note  1) ;  patronage  of  Bazzi,  227. 

Cesariano,  1 10. 

Character  of  Giovanni  Antonio 
Bazzi — Animals,  love  of,  17,  63,  64, 

65.  92,  93.  99.  117-24.  144.  189, 
190,  ig8;  beauty,  instinct  for,  51, 
$8,  62,  98,   105,  147,  149,  185,  246, 


247,  248 ;  erroneous  statements  re, 
11-23,  65;  impulse  and  passion, 
104,1249  ;  industry,  alleged  idleness, 
58,  62,  73,  90,  91,  102,  103,  104, 
105,  176,  177;  spendthrift,  alleged, 
223  (note  1),  225,  237. 

Charitas,  Paintings  of,  49,67,  85,  102, 
III  (note 2),  1 16  (note  %  166  (note), 
351.  356. 

Chatsworth — Drawing  for  Leda,  369, 

Chieri — Pictures  attributed  to  Span- 
zotto, 43,  44. 

Chiese  Senesi,  by  Faluschi :  MS.,  175 
(note  '). 

Chigi,  Agostino  (II  Magnifico) — career, 
133  ;  decoration  of  the  Villa  Far- 
nesina,  114,  131,  132,  133:  for  par- 
ticulars see  Farnesina  Frescoes ; 
dissolute  habits,  147 ;  friendship 
withBazzi,  107, 108, 109, 152;  life  by 
Fabio  Chigi,  108 (note*)  ;  marriage, 
134,  147  ;  patronage  of  Pietro  Are- 
tino,  146 ;  preferment  of  Cardinal 
Alfonso  Petrucci,  1 20 ;  visit  to 
Siena,  107. 

Chigi,  Fabio  (Pope  Alexander  VII.) — 
Life  of  Agostino  Chigi,  108  (note  '^). 

Chigi,  Sigismondo — Friendship  for 
Bazzi,  108  ;  decoration  of  palace  at 
Siena,  108  (note  *),  384 ;  his  mar- 
riage, 109  (note). 

Children — Paintings  of, compared  with 
Raphael's,  113  ;   177  (note  ^\  202. 

Christ  bearing  his  Cross — by  Anselmi, 
167  (note  !)• 

Christ  bearing  his  Cross — Paintings 
by  Bazzi,  87,  184,  185,  232,  235, 
236  (note  1),  345.  346,  349,  357,  372, 
378,  380,  381,  386,  391. 

Christ  bound  to  the  Column — S.  Fran- 
cesco, Siena,  date  of  execution, 
129-31  ;  description  of,  127,  128, 
129,  343  ;  portrait  of  Bazzi,  128, 
218  (note^),  252;  Swinburne's  (A.C.) 
admiration  of,  179  (note  ^). 


INDEX 


421 


Christ  bound  to  the  Column — Monte 

Oliveto  Maggiore,  128  (note  %  349. 
Chronicles  of  the  City  of  Perugia^ 

1 492- 1 503,  by  Francesco  Matarazzo, 

255. 
Ciaccheri,    Abate    G. — Pictures    and 

drawings  belonging  to,  202  (note  1), 

220  (note  2),  351,  362,  364. 
Cicerone,  II  :  see  Burckhardt. 
Cinuzzi   family — The  Descent  from 

the    Cross,   painted    for    them    by 

Bazzi,  70. 
Cinuzzi,     Fedro — Gift     of     a     Holy 

Family  by  Bazzi  to  the  Hospital  of 

S.  Maria  della  Scala  at  Siena,  346. 
Cinuzzi,  Giugurta,  72. 
Circumcision,  The,  by  Luca  Signorelli, 

partially  repainted  by  Bazzi,  226, 

360. 
Classical    influences — Study    of    the 

antique,  80,  141,  180. 
Cobbler — Misconception  involved  in 

the  term  "  Humble  Cobbler,"  29. 
CoUignon,  Giuseppe — Restoration  of 

pictures,  220,  344,  347. 
Colombo,     Padre     Giuseppe — Docu- 

menti  e  Notisie  intorno  agli  Artisti 

Vercellesi,  2  (note  i) ;  Bazzi,  28,  29 

(note  ^),  30  (note  ^);  Spanzotto,  33 

■  (note  2),  34,  35  (note  1),  39  (note  i). 

Colvin,  Sidney — Portrait  of  Raphael, 

113.  369- 
Compagnia   di  Sta  Croce  —  Passion 

Series  frescoes  :  see  that  title. 
Contessa  di  Cellant,   La,   by   L.  G. 

Vallardi,  37  (note  1). 
Conze — Heroen  und  Gottergestalten, 

141  (note  ^). 
Cook,  Sir  Frederic — S.  George  and 

the  Dragon,  165,  360. 
Coronation  of  the    Virgin,    The — S. 

Bernardino  fresco,  160,  342. 
Coronation    of   the    Virgin,    The — 

Sketch   at   Lille,   by   Raphael,   62 

(note  »). 


Correggio — Influence  on  Anselmi,  167 

(note  1),  239,  250. 
Correspondence — Ferrara,    Bazzi    to 

the  Duke  of :  see  Ferrara,  Duke  of ; 

Mantua,  Bazzi  to  the  Marquis  of: 

see  Mantua,  Duke  of;  Pietro  Are- 

tino,  153,  154,  235,  336;  Prince  of 

Piombino  :  see  that  title. 
Corvini,    Alessandro  —  Letter    from 

P.  Niccolo  Trappolino,  15  (note  '), 

237,  339- 
Cosimo  in. (GrandDukeof  Tuscany — 

Cervelliera,  Battista  de,  228  (note  ') ; 

Porta  Pispini  fresco,  preservation 

of,     202    (note    ') ;     5".    Sebastian 

banner,  purchase   of,    175  ;    Siena, 

entry  into,  244  (note  ^). 
Cossa    (or     Coscia),    Fra    Andrea — 

S.  Anna  in  Creta  frescoes,  75,  268. 
Count  Palatine,  title  of,  20,   198,  211, 

212. 
Cozzarelli,       Giacomo,      sculptor  — 

Statues  for  the  Siena  Duomo,  125 

(note  1). 
Cozzarelli,  Guidoccio,  painter — Cap- 

pella  di  Piazza,  Siena,  207  (note  ^). 
Crea,    The    "  Santuario "    at  —  The 

Annunciation  in  painted  glass,  by 

Spanzotto,  50. 
Credi,  Lorenzo  di,  69,  377. 
Crescimbeni — Storia    della    Volgare 

Poesia,  153  (note  ^). 
Cristoforo     di     Maestro     Bindoccio, 

207. 
Cronaca  di  Andrea  Dei  continuata  da 

Agnolo  di  Tura,  205  (note  *). 
Crowe,  J.  A.,  and  G.  B.  Cavalcaselle — 

Histofy  of  Painting  in  Italy,  82, 

145  (note  1).  382  ;  Raphael,  his  Life 

and  Works,  109,  148  (note  »),  396. 
Crucifixion,    The,   paintings   of,    226, 

372,  375.  379;  drawing,  392. 
Cugnoni,     C.  —  Agostino     Chigi    il 

Magnifico,  108  (note  *),  132  (note »), 
Currency — Note  on  the,  254. 


422 


INDEX 


Curti,   Pier  Ambrogio — Madama  di 

Celan,  37  (note  1). 
Curtius — Inspiration  for  The  Family 

of  Darius   before  Alexander,  144 

(note  1). 
Cust,     R.     H.     Hobart — Burlington 

Magazine,   article,     175    (note    ^), 

181  (note  ^) ;  Pavement  Masters  of 

Siena,    175  (note  =*),   176  (note  1); 

Rassegna  d  Arte,  articles  in,  359. 

D'Alba  :  see  Macrino  d'Alba. 
D'Agostino,  Domenico — Designs  Cap- 

pella  di  Piazza,  Siena,  206. 
D'Arco  of  Mantua,   Counts^Portrait 

of     Bianca      Maria      Gaspardone 

(Madame  du  Challant),  36. 
D'Azeglio,     Marchese     Roberto,     52 

(note  1). 
Da  Vinci :  see  Leonardo  da  Vinci. 
Daniele  da  Volterra,  249 ;  Marriage 

of  S.  Catherine  attributed  to,  352. 
David,    Bartolommeo    di — Valuation 

of  frescoes,  194,  210,  308,  310,  324. 
De  Angelis,  Padre  Luigi — Biografia 

degli  scrittori  Sanesi,  217  (note  '); 

La  Vita  del  B.  Pietro  Pettinaio,  70 

(note  3),  71   (note  *),  87  (note  i) ; 

Ragguaglio  del  Nuavo  Istituto  delle 

Belle  Arti,  69  (note  »),  251  (note  »), 

344- 
De  Bazis  :  see  Bazzi,  Name  of. 
De'  Galli  :  see  Galli. 
De  Gregory,  Cav.  Gaspare  Antonio — 

Storia  delta  Vercellese  Litteratura 

ed  Arti,  34  (note). 
De  VArt  Chretien,  by  Albert  F.  Rio — 

Reference  to  Bazzi,  26. 
De    Labrugia,    Niccold — Sacrifice  of 

Abraham,  231  (note  ^). 
De'  Medici  :  see  Medici. 
De'  Tizoni  :  see  Tizzoni. 
Dead  Christ,  77^^—  Paintings  of,  220, 

346,  351.  352,  355.  357.  359.  364, 

368,  373.  375  376,  379.  390.  391.  394- 


Death — Date  of  Bazzi's,  8  ;  inventory 
of  goods,  59,  64  (note*),  67,  166 
note),  2 1 5  (note  *),  237,  337 ;  Buonin- 
segni's  letter,  8,  213,  237. 

Deconti,  Canonico  Giuseppe — Works 
of  art  in  Casale,  36  (note  *),  49. 

Deconti,  Vincenzo — Notizie  Storiche 
di  Casale  e  Monferrato,  36  (note  *), 
40. 

Deferrari,  Defendente  —  Pupil  of 
Spanzotto,  34,  40,  45,  51. 

Dei,  Andrea — Cronaca,  205  (note  ^). 

Dei  Veri  Precetti  delta  Pittura :  see 
Armenini, 

Del  Pace  :  see  Beccafumi. 

Del  Piombo:  see  Sebastiano  del 
Piombo. 

Delia  Pittura  Italiana :  see  Morelli, 
Giovanni. 

Delia  Valle,  Padre — Lettere  Sanesi, 
references  to  Bazzi,  7  (note  *),  8, 
22  (note  %  66,  67,  68,  73,  82,  87 
(note  1),  89,  128,  130,  175  (note  1), 
198,  202  (note  *),  204  (note  *),  211, 
212  (note  1),  218  (note  '),  219,  220 
(note  J),  224  (note  *),  253  (note  ^), 

263,  359.  374.  384.  386. 

Deposition  frotn  the  Cross,  The — Com- 
pared with  '■'Allegorical  Cycle"  86  ; 
Lo  Svenimento,  72,  178  (note  ^)  ; 
date,  69,  86 ;  description,  70-73, 
344;  landscape,  61  (note  *);  por- 
trait of  Bazzi,  73,  252. 

Desana — Dei  Tizzoni,  Conti  di,  5 
(note  1). 

Descent  from  the  Cross,  The — Volterra 
sketch,  227,  378. 

Descent  from  the  Cross,  The — by 
Pacchia,  185  (note  1),  372. 

Descent  into  Limbo,  The,  fresco,  184, 
185,  246,  344. 

Destailleur,  M. — Fall  of  Phaethon, 
The,  226  (note  2),  398. 

Destruction  of  Monte  Cassino,  The — 
fresco,  98,  99. 


INDEX 


423 


Di   Negro,   Don    Gaetano,  Abbot   of 

Monte  Oliveto  Maggiore — Protects 

Bazzi's  frescoes,  106. 
Di  Neri :  see  Innocenzio  di  Neri. 
Dialogo  del  Segreto,  by  Petrarch,  153 

(note  ^). 
Dialogo  della  Pittura :  see  Dolce. 
Diana  and  her  Nymphs — Drawing, 

1 16  (note  ^),  393. 
Die    Bluthezeit     der     Sienesischen 

Malerei,  by  Walther  Rothes,   245 

(note  1). 
Die  graphischen  Kiinste — Article  by 

Richard  Graiil,  148  (note  1). 
Diodorus— Inspiration  for  Family  of 

Darius      before    Alexander,     144 

(note  1). 
Disegni  di  Antichi  Maestri — Article 

by  Gustavo  Frizzoni,  114  (note). 
Documenti  e  Memorie  di  Belle  Arti 

Parmigiane,  MS.  by  E.  Scarabelli 

Zunti,  97  (note  *). 
Documenti   e    Notizie    intorno    agli 

artisti  Vercellesi,  by  Padre  Giuseppe 

Colombo,  2  (note  1). 
Dolce,  Lodovico — Dialogo  della  Pit- 
tura :  "  L'Aretino,'''  139  (note  ^) 
Domenico     d  Agostino  —  Design    for 

Cappella  di  Piazza,  Siena,  206. 
Domenico,  Fra,  da  Lecco,  Abbot  of 

Monte    Oliveto    Maggiore,    76,    88, 

89.  90.  91.  92. 

Donati,  Cav.  Fortunato — Palazzo  del 
Comune  di  Siena,  II,  206. 

Doni,  Anton  Francesco — La  Libreria, 
154  (note). 

Dossi,  Dosso — The  Portrait  of  a  Lady 
at  Frankfurt  a/M.  attributed  to,  60 
(note  3),  356. 

Douglas,  R.  Langton — Burlington 
Magazine  article,  4  (note  ^) ;  His- 
tory of  Siena,  3  (note  -),  4,  171 
(note  ^),  174  (note  ^),  193  (note  *), 
195  (note  1),  345- 

Drawings — Lists    of    authentic    and 


attributed  drawings  by  Bazzi,  361-9, 

390-7  ;  missing  drawings,  398 ;  re- 
semblance to  drawings  by  Raphael 
and  Leonardo,  148 ;  see  also  title 
Pictures  and  Drawings  by  Bazzi. 

Drawings  of  the  Florentine  Painters, 
The:  see  Berenson, 

Duccio — Said  to  have  designed  Cap- 
pella di  Piazza,  Siena,  205  (note  *). 

Duomo,  Siena,  195,  341  :  see  Opera 
del  Duomo,  Siena. 


Earthwork  out  of  Tuscany,  by 
Maurice  Hewlett,  179  (note  ^). 

Emperor  Charles  V. — Admiration  of 
Bazzi's  work ;  title  of  Count  Pala- 
tine, 20,  64,  198,  211,  345. 

Este,  Isabella  d',  121  (note  *),  147 
(note  1),  247  ;  correspondence,  162. 

Eve — Representation  of,  185,  246. 

Execution  of  Niccolo  Tuldo,  The — 
Fresco,  180,  342. 

Expulsion  of  Heliodorus,  The,  by 
Raphael,  146. 


Faccio,  Colonel — Giovan'  Antonio 
Bazzi,  ID  (note  *),  28  (note  ^),  30 
(note  1),  31  (note  ^),  87  (note  ^),  107 
(note  1),  257  (note  1),  379. 

Fall  of  Phaethon,  The,  226,  364,  398. 

Faluschi — Chiese  Senesi,  175  (note  *). 

Farnesina,  The,  by  Adolfo  Venturi, 
139  (note). 

Farnesina  Frescoes — Alexander  and 
Bucephalus,  145,  146,  350 ;  date  of 
execution,  114,  131-3,  146,  150; 
Family  of  Darius  before  Alexander, 
The,  description,  142-4,  list  of 
frescoes,  350;  Marriage  of  Alex- 
ander and  Roxana,  The — compari- 
son with  other  works,  140,  180,  219, 
347,  description,  135-8,  140,  141, 
purity  of  sentiment,  25,   147,  247, 


424 


INDEX 


source  of  inspiration,  138,  studies, 
139,  140,  363,  366,  368,  393,  396; 
portions  of  the  Villa  decorated 
by  Bazzi,  134;  Vulcan's  Forge,  de- 
scription, 144 ;  Vasari's  incorrect 
record  of,  75  (note  *). 

Famesina  Studien  :  see  Foerster,  Dr. 
Richard. 

Federighi,  Antonio,  125  (note);  Cap- 
pella  di  Piazza,  Siena,  207. 

Ferrara,  Duke  of — Letter  from  Bazzi 
to,  152,   162,  163,  297. 

Ferrari,  Eusebio — Paintingsattributed 
to,  34  (note),  381. 

Ferrari,  Gaudenzio,  34,  46  (note),  381. 

ffoulkes,  C.  J.,  354. 

Finding  of  the  Cross,  The — Fresco, 
184  (note  2). 

Fiorenzo,  Legend  of  the  wicked 
monk,  91,  92. 

Florence — Illness  of  Bazzi  in  hospital, 
187-90,  193,  305  ;  Medici,  exile  of, 
188,  189;  Montepulciano  ceded 
to,  129,  130  ;  pictures  and  drawings 
by  Bazzi,   175,  252,  351,  352,  363, 

364,  365,  378,  385.  390.  391.  392, 
398;  Falii:  i'^^  that  title ;  siege  of, 
etc.,  190  (note^) ;  visits  of  Bazzi  to, 
17,  123,  125,  151,  152,  155,  180-91. 

Foerster,  Dr.  Richard — Das  Jahrbuch 
der  Konigl.  Preussischen  Kiinst- 
sammlungen,  131  (note  ^),  133 
(note  ^),  140  (note  *) ;  Famesina 
Studien,  115,  131-45. 

Foiano,  Maestro  Giusto  da — Cappella 
di  Piazza,  Siena,  207  (note  ^). 

Fra  Filippo  Lippi,  by  E.  C.  Strutt, 
105  (note  ^). 

Fragmentutn  Triuni  Dialogorum : 
see  Giovio. 

Francesco  di  Giorgio — Cappella  di 
Piazza,  Siena,  205  (note  *)  ;  statues 
for  the  Siena  Duomo,  125  (note  *). 

Francis  L — Meets  Pope  Leo  X.  at 
Bologna,  151. 


Frankfurt  a/M.,  Stadel  Art  Institute — 
"Yh^  Portrait  of  a  Lady,  59-61,  356. 

Frescoes — Agostino  Bardi's  house, 
122,  288,  384;  Alexander  and 
Roxana  Idyll :  see  Famesina  Fres- 
coes, 215;  Ascension,  Castello  di 
Trequanda,  200  (note  ^),  350; 
Camera  della  Segnatura  ceiling : 
see  Vatican ;  Cappella  di  Piazza, 
Siena  :  see  that  title  ;  Christ  bound 
to  the  Column  :  see  that  title  ;  Depo- 
sition from  the  Cross,  The,  S.  Fran- 
cesco :  see  that  title  ;  Descent  into 
Limbo,  The,  184-6,  344;  Famesina 
Frescoes:  see  that  title;  Madonna 
de'  Calzolari,  203,  34;  Madonna 
del  Corvo,  220,  346  ;  Monte  Oliveto 
Maggiore  Frescoes  :  see  that  title  ; 
Passion  Series :  see  that  title ; 
Palazzo  Pubblico,  Siena  :  see  that 
title ;  Porta  Pispini,  Siena,  201-3, 

252,  315-18,  346  ;  S.  Anna  in  Creta: 
see  that  title  ;  S.  Bernardino, 
Siena,  Frescoes  :  see  that  title  ;  S. 
Domenico,  Siena :  see  that  title ; 
5.  Ivo  dispensing  Justice,  102,  350; 
S.  Spirito,  Siena :  see  that  title ; 
San  Gimignano  Frescoes,  102,  103, 
350. 

Frizzoni,  Gustavo — Archivio  Storico 
del  Arte,  articles,  351,  352,  353, 
380;  Arte  e  Storia,  388;  Arte 
Italiana  del  Rinascimento,  9 
(note  <),  29  (note  »),  81  (note  %  88 
(note  *),  IOC,  loi  (note  ^),  113, 
140  (note  ^),  148  (note  1),  166  (note  ^), 
1 82 (note ^),  187  (note-),  200  (note ^), 
214  (note  ^),  216  (note  -),  217,  218 
(note  1),  227  (note  ^),  233  (note  *), 

253.  342,  343.  345.  346,  347,  35°. 
351.  352,  355,  356,  368,  369,  370, 
374.  375.  378,  379.  380,  388,  389, 
396,  398 ;  Disegni  di  Antichi 
Maestri,  114  (note);  Intorno  alia 
Dimora  del  Sodoma  a  Roma  net 


INDEX 


425 


1 5 14, 148  (note  1) ;  Rassegna  d  'Arte, 
articles,  61  (note  ^),  359. 
Furione,  Lorenzo — Leases  a  shop  and 
dwelling-house  to  Giacomo  Bazzi, 
9.30- 


Gain,  Caterina  de'  Peri  de' — Will,  20, 

222,  223  (note). 
Galli,  Luca  de' — Family  pedigree,  286 ; 

marriage  of  her  daughter  to  Bazzi, 

19,  115,  285;  sons,  222  (notei),  285. 
Gamba,    Barone   Francesco— Picture 

in  Baptistery  of  Duomo  at  Chieri, 

44  (note  2),  45. 
Garghi,  Fabio  di  Girolamo — Cappella 

di  Piazza,  Siena,  208,  320,  322. 
Gaspardone  (or  Scapardone),  Bianca 

Maria    (Madame    du    Challant) — 

Portrait,  37  (note  ij. 
Gazzera,  Costanzo — Memorie  Storiche 

dei  Tizzoni,    Conti  di  Desana,    5 

(note  1). 
Geffroy,  A.,  79  (note  ^). 
Genealogy  of  the  Madonna — Pictures 

of,  46,  47,  81. 
Genga,     Girolamo  —  Paintings     and 

drawings,  etc.,  by,  1 16,  370,  393. 
Genoa — Madonna  and   Child   with 

S.John,  170,  355. 
Ginoulhiac  family,  Milan — Madonna 

and  Child,  58,  170,  354. 
Giolito — Stanze  Diver  si,  153  (note  ^). 
Giomo     del     Sodoma :      see     title 

Magagni,  Giomo. 
Giorgio    di    Giovanni — Valuation    of 

fresco  by  Magagni,  241. 
Giornale  di  Erudizione  Artistica — 

Article   by  Gustavo   Frizzoni,   148 

(note  1). 
Giovanangeli  family,  222,  244. 
Giovanni  di  Lorenzo,  186. 
Giovanni  di  Stefano  di   Giovanni — 

Altar-shrine,  S.  Domenico,   Siena, 

176, 


Giovanni,  Fra,  da  Lucignano — "  Guar- 
dian "  of  S.  Francesco,  Siena,  131. 
Giovenoni — Family  of  painters,  35. 
Giovio,  Paolo — Fragmentum   Trium 

Dialogorum,  6  (note  *),  141  (note  ^). 
Girolamo  di  Giovanni,  of  Como,  240. 
God  The  Father,  Representations  of, 

177,  178,  182,  234,  343,  364,  371. 
Gonzaga,     Francesco :    see    Mantua, 

Marquis  of. 
Gonzaga,  Giulia,  Cotitessa  di  Fondi, 

by  Bruto  Amanti,  60  (note  >). 
Graf,  Arturo — Un  Processo  a  Pietro 

Aretino,  146  (note  i). 
Granacci,  Francesco,  no. 
Graul,    Richard  —  Die    graphischen 

Kiinste,  148  (note  1). 
Griccioli,  Conte  Silvio,  184,  344,  346. 
Grimm,  Hermann — Kunst und Kimst- 

geschichte,  148  (note  »). 
Gualandi,    Michelangelo  —  Memorie 

Originali  di  Belle  Arti,  1 57  (note  i). 
Guerazzi,     Francesco     Domenico  — 

The  Siege  of  Florence,  190  (note  '). 
Guerrini,     Liborio  —  Restoration    of 

paintings,    198   (note  i),    211,    212 

(note  1),  342,  345. 
Guida  Artistica  delta  cittd  e  contorni 

di  Siena,   88  (note  ^),  passim  in 

Picture  Lists. 
Guida  Illustrata  di   Monte   Olii>eto 

Maggiore,  by  Don  Luigi  Perego,  89 

(note  *),  91,  105  (note  "'). 
Guide  to  Siena,  by  W.  Heywood  and 

L.  Olcott,  61  (note  %  176  (note  »). 


Hanover — Pictures,  85,  165,  356, 

Harck,  Fritz,  357,  381. 

Hawthorne,  Nathaniel —  Transforma- 
tion, i2j  (note). 

Head  of  Christ — Pictures,  80,  348, 
366,  387,  396,  398. 

Henderson  Collection,  Buscot  Park, 
Berks,  165,  358. 


426 


INDEX 


Henry  VIII.  of  England,  5  (note),  121. 

Heroen  und  Gottergestalten,  by  Conze, 
141  (note  ^). 

Heseltine,  J.  P. — Drawing  for  Alex- 
ander and  Roxana,    140  (note   ^), 

396. 

Hewlett,  Maurice  —  Criticism  of 
Bazzi's  paintings,  179  (note). 

Hey  wood,  William — Palio  and  Ponte, 
117  (note  ^),  124  (note  i),  190 
(note  2),  227  (note  ^),  232  (note  1), 
290  (note) ;  Pictorial  Chronicle  of 
Siena,  ^,115  (note  "). 

Heywood,  William,  and  L.  Olcott — 
Guide  to  Siena,  61  (note  *),  176 
(note  1). 

High  Legh,  Cheshire — The  Holy 
Family  with  S.  Elizabeth  and  S. 
John,  218  (note  ^),  358. 

Histoire  de  I' Art  pendant  la  Renais- 
sance :  see  Miintz. 

Historiarum  Senensium  :  see  Tizio. 

History  of  Painting  in  Italy,  A,  by 
J.  A.  Crowe  and  G.  B.  Cavalcaselle, 
82,  145  (note  1),  382. 

Histaty  of  Siena,  A,  by  R.  Langton 
Douglas  ;  see  Douglas. 

Holy  Family,  The — Paintings  and 
drawings  of,  52  (note  1),  68,  69,  70 
(note),  174  (note  ^),  195,  202,  218, 
233.  344,  345.  346,  347.  35 1.  352. 
353.  354,  355.  356,  357,  358,  359, 
360,  361,  372,  374,  375,  377,  378, 
379,  381,  382,  383,  384,  385,  387, 
388. 

Home,  H.  P. — The  Struggle  for  the 
Standard,  99  (note  ^). 

Horses — Model  of,  213  ;  paintings  of, 
64,  99,  196,  198,  345  ;  purchase  of, 
121,  288  ;  racing  :  see  that  title. 

House,  Bazzi's  purchase  of  a,  in 
Siena,  4,  222,  332. 

"  II  Mattaccio  "  {Matazo) — Nickname, 
17,  65,  94,  269. 


//    Riposo  —  Raffaello     Borghini,     7 

(note  % 
II  Santuario  di  Crea  itt  Monferrato, 

by  Francesco  Negri,  35  (note  ^),  50, 
Immorality  of  the  Renaissance,  12. 
Influence   of  Bazzi  on    Sienese   Art, 

25.  239- 
Innocenzio,    Fra,    di  Neri,  da  Siena, 
"  Guardian  "  of  S.  Francesco,  Siena, 

131- 

Inventario  Generale  degli  Oggetti 
d'Arte  delta  Provincia  di  Siena, 
by  F.  Brogi,  81  (note  2),  passim  in 
Picture  Lists. 

Invention  of  the  Cross,  The — by 
Antonio  Nasini,  87  (note  '). 

Inventory  of  goods  left  at  Bazzi's 
death :  see  Death. 

Inventory  or  "  Denunzia  "  attributed 
to  Bazzi,  22,  260-4. 

Invercellini,  Giovanantonio,  of  Ver- 
celli  (smith) — Works  for  Agostino 
Chigi,  132  (note  ^). 

Isabella  d^Este,  Marchioness  of 
Mantua,  1474 — 1539,  by  Julia  Cart- 
wright,  121  (note  ^). 

Italian  Masters  in  German  Galleries  : 
see  Morelli. 

Jacobsen,  Dr. — Paintings  by  Bazzi, 
61  (note  ''),  355. 

Jahrbuch  der  Konigl.  Preussischen 
KUnstsammlungeit,  Das — Foerster, 
131  (note  ^),  140  (note  ^) ;  Karl 
Schuchhardt,  70  (note  1),  84  (note  ^), 
85  (note  2),  151  (note  2),  343. 

Jansen,  Albert — Lebe?t  utid  Werke  des 
Male?-s  Giovanni  Antonio  Bazzi 
vott  Vercelli  genannt  Sodoma,  9 
(note  ^),  29,  30  (note  ^),  31  (note  *), 
69  (note  2),  141  (note  ^),  227  (note  ^), 

yii- 

Jameson,  Mrs. — Genealogy  of  the 
Madonna,  by  Parmigiano,  47 
(note). 


INDEX 


427 


Judith,  85,  343. 
Jurisprudence,  by  Raphael,  113. 

Kunst  und  Kunstgeschichte ,  by  H. 
Grimm,  148  (note  ^). 

L'Indaco,  no. 

Lady,  A. — Chalk  drawing  of,  in  the 

Uffizi,  61  (note  ^). 
Landi,  Alfonso — Racconto  dei  Pitture, 

etc.,  MS.,  6  (note  *),  22  (note  *),  67, 

68  (note  2),  195  (note  %  262,  384. 
Last  Supper,  The,  123,  186,  352. 
Lawrence,   Sir  Thos. — Collection    of 

drawings   by  Bazzi,    140  (note  -) ; 

passim  in  the  lists  of  Drawings. 
Lebenund  Werkedes  Malers  Giovanni 

Antonio  Bazzi  von  Vcrcelli genannt 

Sodoma  :  see  Jansen,  Albert. 
Lecco,     Fra      Domenico      da  :      see 

Domenico. 
Leda — Drawings  and  paintings,   115, 

246,  338,  358,  365,  366,  369,   377, 

380,  393.  394,  395- 

Leonardo  da  Vinci  —  Battle  of 
Anghiari,  The,  99  (note  *);  in- 
fluence on  Bazzi,  52,  58,  62,  69, 
80,  99  (note  1),  loi  (note  1),  115 
(note  *),  141,  148,  149,  i6g,  180 
(note),  191,  217  ;  Lady,  A,  drawing 
of,  attributed  to,  61  (note  *),  390; 
life  of,  16 ;  Milan,  departure  from, 
57  ;  ^.  Sebastian,  174  (note  i);  The 
Struggle  for  the  Standard,  99 
(note^);  types  painted,  149;  youths 
as  models  for  virgins,  etc.,  62 ; 
passim  in  Picture  Lists. 

Leonardo  da  Vinci,  by  Edward 
McCurdy,   169  (note  i). 

Leonardo  da  Vinci,  or  The  Fore- 
runner—  Romance  by  Dimitri 
Merejkowski,  62  (note  i). 

Lxttere  facete  e  piacevoli :  see  Turchi. 

L^ttere  Pittotiche  :  see  Bottari. 

L^ttere  Sanesi :  see  Delia  Valle. 


Libreria,    La,   by  Anton    Francesco 

Doni,  154  (note). 
Life  of  Bazzi,  The,hy  Vasari :  see  Vasari. 
Ufe  of  Beccafumi,   The,  by  Vasari : 

see  Vasari. 
Life  of  Leo  X.,  The,  by  W.  Roscoe, 

153  (note  2). 
Life  of  the    Virgin,    The — S.   Anna 

in  Creta  Frescoes :  see  that  title  ; 

Subiaco,  Church  of  S.  Francesco, 

1 1 5  (note  3),  376. 
Lille — Drawing  for  a   Coronation  of 

the  Virgin,  62  (note  -). 
LJves'pf  the  Painters,  The,  by  Vasari : 

see  Vasari. 
"  Lo  Scalabrino  "  :   see  Michelangelo 

d'  Antonio. 
Lo  Svenimento :    see   S.    Domenico, 

Siena. 
Lomazzo,  Gio.  'Paolo— Alexander  and 

Roxana,  139  (note  i). 
Lombard  School  of  Painting,  The — 

Decoration,  style  of,  83  ;  influence 

on  Bazzi,  8,  25,  56,  58,  73,  80,  217. 
Lombardy,  Bazzi's  return  to,  169. 
Lorenzo  di  Pietro,  "  il  Vecchetta  " — 

Altar-shrine,   S.  Domenico,   Siena, 

wrongly  attributed  to,  176  (note  1). 
Lotto,  Lorenzo,  no. 
Lucca — Christ  bearing  His  Cross,  233, 

235.  378  ;  paintings  for  the  Olivetan 

Order,  234,  388. 
Lucian — A&tioWs^iciuTe.oi  Alexande? 

and  Roxana,  138. 
Lucretia — Poem  on  an  antique  statue 

of,  by  Pope  Leo  X.,  153  (note  *). 
L^ucretia  —  Pictures    of,    85,    151-51 

163-5,    166  (note),    338,    353,    356, 

357 ;  epigrams  by  Eurialo  Morani 

d'Ascoli,  153,  165,  264. 
Lugano,  Padre  Placido — Frescoes  at 

S.  Anna  in  Creta,  75,  77. 
Luini — Leonardo's      influence,      52  ; 

The  Presentation  in  the  Temple, 

fresco,  83. 


428 


INDEX 


Lusini,  Canonico  Vittorio  —  Storia 
della  Basilica  di  S.  Francesco  in 
Siena,  La,  70  (note  *),  71,  72,  87 
(note  1),  130. 

McCurdy,  Edward  —  Leonardo  da 
Vinci,  169  (note  i). 

Macchiavelli,  Messer  Giovanni  Bat- 
tista,  103. 

Macrino  d'Alba  (Gian  Giacorao  de 
Alladio) — "  Ancona  "  at  Turin,  83 
(note  1) ;  school  of  Foppa,  5 1 
(note  1). 

Madama  di  Celan,  by  Pier  Ambrogio 
Curti,  37  (note  1). 

Madonna — Paintings  and  drawings  of, 
by  Bazzi,  58,  65,  68,  80,  81,  103,  163, 
164,  165,  169,  170,  172,  174,  193 
(note*),  195,  197,  203,  214,  220,  221, 
233,  234,  248,  253,  306,  329,  341, 
342.  343,  344,  345.  346,  347,  348, 
349,  350.  351,  352,  353.  354,  355. 
357.  358,  359,  360,  363,  364.  366, 
367,  368,  370,  371,  372,  374,  377, 
378,  379.  380,  381,  382,  383,  384, 
385,  386,  388,  390,  392,  394. 
Genealogy  of  the  Madonna — Italian 
examples  of,  46,  47  ;  purity  and  re- 
finement of,  248. 

Madonna  and  Child,  The — by  Giro- 
lamo  Magagni,  241. 

Madonna  and  Child,  The — by  Gio. 
Maria  Tucci,  234. 

Madonna  and  Child,  The — by  Vin- 
cenzo  Tamagni,  at  Asciano,  97 
(note  *);  at  Monte  Oliveto  Maggiore, 

lOI. 

Madonna  and  Saints,  The — by  An- 
selmi,  167  (note  ^). 

Madonna  di  S.  Sisto,  by  Raphael, 
113,  177  (note  1). 

Madonnas,  by  Spanzotto,  41-50. 

Magagni  (Giomo  del  Sodoma) — 
Charities  ofS.  Catherine,  The,  attri- 
buted to,  370 ;  life  and  work  of,  240, 


241  ;  Nativity  of  the  Virgin,  The, 

attributed    to,    219,    345  ;    removal 

of  property    from    Bazzi's    studio, 

187-92,  240,  304-7;    Two  Saints, 

attributed  to,  37 1 . 
Mancini,      Monsignore      Giulio,      21 

(note  *),  62  (note  ^),  71,  87  (note  i), 

224  (note  -),  386  ;  Brazzi,  Lorenzo 

("  il  Rustico  "),  242. 
Mantegna,  Andrea,  loi,  ill  (note  *). 
Mantua — Frescoes   at,    147    (note  i), 

247  (note    ). 
Mantua,      Marquis      of,      Francesco 

Gonzaga — Death,  162;  Bazzi's  letter 

to,   151,    162,    163,   296;   owner  of 

racehorses,  18,  120,  121. 
Mantuan   and    Ferrarese   Archives — 

Destruction  and  injury  by  fire,  etc., 

162. 
Manuel   de    Bibliographie    Biogra- 

phique     et      d^Iconographie     des 

Femmes  celebres  .  .  .  par  un  vieux 

bibliophile,  37  (note  i). 
Marco  di  Giovanni — Frescoes  by,  158. 
Marco    di   Pietro — Sale    of    Riccio's 

property  to,  224. 
Marco  d'Oggiono,  57. 
Marriage  of  Alexander  and  Roxana  : 

see  Farnesina  Frescoes. 
Marriage  of  S.  Catherine,  227,  352. 
Marriage  of  the   Virgin — by  Becca- 

fumi,  161  (note  i). 
Marseilles — Incomplete  Genealogy  of 

the  Madonna,  by  Perugino,  47  (note). 
Maserius  —  Restoration     of     Christ 

bearing  His  Cross,  88. 
Matarazzo,  Francesco — Chronicles  of 

the   City  of  Perugia,    1492-1503, 

255  (note). 
Mayence — Pictures,  34  (note),  381. 
Mazzuchelli,  Giammaria — Gli  Scrit- 

tori  d' Italia,  etc.,  153  (note  ^). 
Mazzuoli,   Francesco— Retouching  of 

frescoes  at  S.  Domenico,  Siena,  177 

(note). 


INDEX 


429 


Medicean  Archives — Bazzi's  letter  of 

recommendation,  18,  289. 
Medici    family — Bazzi's   introduction 

to  Lorenzo  (the  younger),  18,  123, 

289,  to  Giuliano,   152;  exile,    188, 

189. 
Medici,  Lorenzo    di    Galeotto   de' — 

Bazzi's  stay  with  at  Volterra,  226. 
Medici,   Giuliano  de — Coronation  of 

Pope  Leo  X.,    148 ;    Lucretia,   by 

Bazzi,  152,  155,  163,  297. 
Melchion     (Bazzi's      "  garzone  ")  — 

Record  of,  95,  270,  272. 
Melzi,  Francesco — Pictures  attributed 

to,  169,  379. 
Memmi,  Simone,  196. 
Metnorie  Originali  di  Belle  Arti,  by 

Michelangelo  Gualandi,  157  (note  *). 
Metnorie  Storiche  dei  Tizzoni,  Conti 

di  Desana,  by  Costanzo  Gazzera, 

5  (note  1). 
Metnorie    Storico-diplomatiche,    etc., 

38  (note  *). 
Metnorie  Storico-religiose  e  di  Belle 

Arti,    etc.,    di    Chieri,    by    C.   T. 

Antonio  Bosio,  43  (note  i),  45  (note). 
Mendoza,  Don  Diego  de — Portrait  by 

Riccio,  243. 
Meo,    Painter — Cappella    di    Piazza, 

Siena,  207. 
Merejkowski,   Dimitri — Leonardo  da 

Vinci,     or    The    Forerunner,     62 

(note  1). 
Metamorphosis  of  Cephalusy    The — 

Painting  on  muslin,  126  (note  *). 
Meyer,      Dr.      Julius  —  Allgemeitus 

Kunstler  Lexikon :  Bazzi  and  his 

paintings,    82,    83,    115,    122,    168 

(note  '),  195  (note  ')•  381,  389- 
Michelangelo — Artist-companions  at 
the  Vatican,  1 10 ;  Bazzi's  paintings 
compared  with  those  of,  178  ;  great- 
ness of,  141,  249;  sonnets,  16. 
Michelangelo  d'Antonio  ("lo  Scala- 
brino  "),  194  (note). 


Melozzo  da  Forli — Paintings  in  the 
Vatican  attributed  to,  in  (note  '). 

Milan — Florin,  value  of,  255  ;  French 
invasion,  etc.,  56 ;  paintings  and 
drawings  at,  37,  78,  214  (note  '), 
354,  365.  380,  388,  393. 

Milanesi,  Carlo  —  Archivio  Storico 
Italiano,  167  (note  *). 

Milanesi,  Gaetano— Annotated  copy 
of  Bertolotti's  work,  38  (note) ; 
Cotntnentary,  2  (note  ^),  3,  ig,  70, 
81,  97  (notes  -,  ^),  122,  124,  187 
(note),  I  go,  192,  ig6  (note  ^),  201, 
202,  214,  225  (notes  1,  '),  234,  239, 
240,  243,  244.  Docutnenti  per  la 
Storia  delV  Arte  Senese,  8  (note  '), 
15  (note  1).  96  (note  ^),  125  (note  % 
146  (note  2),  155.  (note  2),  157 
(notei),  i58(notei),  159,  i82(note^), 
186  (note  *),  187  (note),  188,  I  go, 
194,  2og  (note),  210  (note  ^),  216 
(note  1),  2g4  (note),  304  (note),  307 
(note),  3og  (note  1),  310  (note  1), 
312  (note),  320  (note  1).  37 1.  372, 
385;  MSS.,  171  (note  »),  173 
(note  1),  205  (note  \  222  (note  »), 
223  (note  ^),  224  (notes  *,  ^),  241 
(note   »),   243   (note  ^\  254,   256, 

307.  351- 

Milanesi  and  Borghesi  MSS.,  223 
(note  !)• 

Miracle  of  the  Exorcism  of  the  De- 
moniac Girl,  The — Designs  for, 
181,  363. 

Miracle  of  the  leaves  and  Fishes, 
The — Fresco,  78,  347. 

Models,  Male,  62,  172  (note  i). 

Molza— Eurialo  Morani  d'Ascoli,  153 
(note  '). 

Monferrato,  Marquises  of,  Guglielmo 
Vn.  and  Bonifacio  V,  (Paleologi) — 
Art  Revival  in  Vercelli,  40. 

Mongeri,  Giuseppe- — Arte  in  Milano, 
2,7  (note  ^). 

Montalcino — Tamagni   in   prison  for 


430 


INDEX 


debt  at,  1 16-17,  286;  banner,  347, 
375  ;  pictures,  375. 

Montault,  Monsignor  Xavier  Barbier 
de — CEuvres,  48  (note  ^). 

Monte  Oliveto — Convent,  near  Flor- 
ence, Cenacolo,  123,  186,  352 ; 
difficulty  of  fixing  date,  122-5; 
Francesco  Brandolini,  Prior,  122. 

Monte  Oliveto  Maggiore — Animals 
kept  at  the  Convent,  64,  92. 

Monte  Oliveto  Maggiore  :  Frescoes — 
Chronicles  of  the  Convent,  84,  88, 
92-7,  107  ;  date  of  execution,  75,  83, 
84,  90,  92,  95 ;  description,  98-102, 
104-6,  180 (note);  dilatory  methods 
of  Bazzi's  working,  alleged,  89, 
90 ;  "  garzoni  "  employed,  96,  97  ; 
lasciviousness  alleged,  90-92,  99, 
246;  legends  connected  with  Bazzi's 
work,  89,  90 ;  payments,  etc.,  ex- 
tracts from  Monastery  ledgers,  92, 
97,  102,  104,  107,  269-85 ;  portraits, 
64.  89,  93,  98,  218,  251,  253;  pre- 
servation of  frescoes,  106  ;  resem- 
blance of  the  Preseiitation  in  the 
S.  Bernardino  frescoes  to  S.  Bene- 
dict Cycle,  160  ;  Signorelli's  work, 
76,  104 ;  study  for  Scene  7,  S. 
Benedict  Cycle,  364 ;  Temptation  of 
the  Monks,  The,  86,  90,  98,  99,  104, 
246,  349 ;  time  occupied  in,  103, 
107 ;  treatment  of,  98-9,  104,  105. 

Montepulciano — Cession  to  Florence, 
129,  130. 

Monumenta  Hisiortce  Patrice  Scrip- 
toritint,  36  (note  '). 

Morani,  Eurialo,  d'  Ascoli— Epigrams, 
22  (note  ^),  264 ;  life  and  works, 
152-5;  Lticretia,  epigrams  on,  152, 
I  S3.  154,  165,  264. 

Morelli,  Giovanni — References  to 
Bazzi  and  his  work :  Delia  Pittura 
Italiana,  23,  59  (note  '),  85  (note  '), 
102  (note^),  115  (note  ^),  148,  169, 
251,  252,  254,  353,  356,  366,  369, 


377.  379.  388,  390,  393;  Italian 
Masters  in  German  Galleries,  34 
(note  -),  51  (note  ^),  114  (note  i), 
116  (note  %  393;  pictures  and 
drawings  formerly  owned  by,  353, 

365.  389. 

Morelli,  Giuliano  di  Niccolo,  gold- 
smith, of  Siena,  15,  339. 

Munich — Pictures  and  drawings  at, 
1 16  (note  *),  353,  356,  366,  380,  393. 

Mtintz,  Eugene — Histoire  de  I'Art 
pendant  la  Renaissance,  75  (note  i), 
98  (note  ^),  113  (note  ^) ;  Raphael, 
62  (note  *),  109  (note  *);  Revne 
Encyclopedique  Larousse,  La,  367. 

Muratori — Cappella  di  Piazza  del 
Campo,  Siena,  205  (note  ^),  206 
(note  1). 

Naples — Picture  of  The  Resurrection, 

215.352. 

Nasini,  Antonio — The  Invention  of 
the  Cross,  87  (note  ^). 

National  Gallery,  The,  London- 
Pictures,  66  (note  i),  226  (note  ^), 
233  (note  1),  360. 

Nativity,  The — Picture  attributed  to 
Spanzotto,  45. 

Nativity,  The — Pictures  :  Borgogna 
Collection,  Vercelli,  52  (note  -),  70 
(note),  354;  Dorchester  House  Col- 
lection, 69  (note  ^),  358  ;  Hardvvick 
Court  Collection,  360,  385 ;  Lec- 
cetto,  69,  251  (note  ^),  344  ;  Porta 
Pispini :  see  that  title. 

Nativity  of  the  Virgin,  The — Pictures, 
219,  220,  345,  347. 

Necrom,ancy — Work  on,  191. 

Negri,  Cav.  Aw.  Francesco — IlSantu- 
ario  di  Crea  in  Monferrato,  35 
(note  ') ;  Una  Famiglia  di  Artisti 
CcLsalesi  dei  Secoli  XV  e  XVI,  34, 
36,  38,  40,  49  (note  -),  50,  267. 

Neri  di  Donato— Cappella  di  Piazza, 
Siena,  206. 


INDEX 


431 


Neroni  (or  Negroni) :  see  Riccio. 
New  Italian  Sketches;  Monte  OUveto, 

by  John  Addington  Symonds,   105 

(note  1). 
Niccolo    de    Labrugia — Sacrifice    of 

Abraham,  231  (note  2). 
Niccolo  di  Pietro — Works  with  Giomo 

del  Sodoma,  241. 
Nicknames — Commonness  of,  21,  23  ; 

evidence  not  to  be  based  upon,  24 : 

see  also  Appellations. 
Nobiltd  del  Notaio,  by  Placido  Pucci- 

nelli,  38. 
Notizie    de*  Ariisti,   by    L.    Tanfani 

Centofanti,  3  (note  1),  228  (note  '). 
Notizie  dei  Professori  del  Disegno, 

by  Filippo  Baldinucci,  8  (note  1). 
Notizie  intorno  alia  patria  e  ai  printi 

studi,  etc. :  see  Bruzza. 
Notizie  Storiche  di  Casale  e  Monf er- 
rata,   by    Vincenzo     Deconti,     36 

(note  *),  40  (note  ^). 
Nuovi   Documenti,   by   S.    Borghesi 

and  L.  Banchi,  22  (notes  ^  ^),  67 

(note  2),  118  (note  ^),  163  (note  i), 

164    (note  1),    194    (note    ^),    208 

(note  %  263,  308  (note). 

Olcott,  L.,  and  W.  Heywood — Guide 
to  Siena,  61  (note  1),  176  (note  i). 

Oldoni — Family  of  painters,  35. 

Olivetan  Order — Frescoes  by  Bazzi : 
see  titles  S.  Anna  in  Creta  and 
Monte  Oliveto  Maggiore ;  Lucca, 
painting  of  The  Madonna,  234; 
paintings  by  Bazzi  for  this  Order, 
26,  76,  234. 

Opera  del  Duomo,  Pisa — References 
to  Bazzi,  3,  228-33. 

Opera  del  Duomo,  Siena — Appren- 
tices'training,  125,  126;  Archives: 
see  Archivio  dell'  Opera  del  Duomo 
di  Siena;  Bazzi's  commissions  from, 
124,  155  ;  choir  stalls  and  sedilia, 
by  Riccio,   244;    statue  for,    125; 


The  Transfiguration  attributed  to 

Bazzi,  370. 
Opusculuvt  de  Mirabilibus  Novce  et 

Veteris  Urbis  Romce,  109  (note  '). 
Origini    del    Teatro    Italiano,     by 

Alessandro  d'  Ancona,  290  (note). 
Our  Lady,  SS.  Elizabeth  and  Joseph, 

218,  329,  358. 
Oxford — Pictures  and  drawings,  1 14, 

140  (note  %  368,  369,  397. 

Pacchia,  Girolamo  del — Descent  from 
the  Cross,  The,  185  (note  1);  frescoes 
at  the  Oratory  of  S.  Bernardino, 
Siena,  159;  influence  of  Bazzi,  161, 
239 ;  pictures  and  drawings  attri- 
buted to,  66  (note  *),  372,  377,  392. 

Pacchiarotto,  Giacomo,  239. 

Paccinelli,  Girolamo — Porta  Pispini 
fresco,  201,  318. 

Paccinelli,  Vincenzo — Decoration  of 
house  by  "  II  Rustico,"  242. 

Painting — Apprenticeship  :  see  that 
title  ;  arabesque  work,  78,  100, 
102  (note  ^),  103,  no,  177  ;  Bardi's 
house,  122;  Beccafumi,  comparison 
with,  15;  Biers:  see  that  title; 
careless  composition  and  slovenly 
execution,  15,  102,  160,  180,  249; 
children,  compared  with  Raphael's, 
113'  "^n  (note  1),  202;  classical 
influences,  study  of  the  antique, 
80,  141,  180  ;  Defendente  De- 
ferrari,  affinity  with,  51  ;  detail, 
60,  61,  73 ;  dilatory  methods,  89, 
90,  209,  216;  drawing,  anatomical 
methods,  79,  91,  skill  at,  61,  173, 
185  ;  Genga,  Girolamo,  imitator, 
116;  hands,  skill  at  painting,  106 
(note) ;  imitators,  other,  239 ; 
influence  of  Bazzi  on  contem- 
poraries, 25, 61,  161,  239 ;  influences 
on  Bazzi — Bramante,  83  (note  >), 
Leonardo  :  see  Leonardo  Da  Vinci, 
Lombard    School :    see   that    title, 


432 


INDEX 


Macrino  d'Alba,  51,  52,  Quercia's 
sculptures,  16,  58,  66,  Spanzotto, 
51,  Tuscan  School,  69,  79,  80, 
Umbrian  School,  58,  80,  83,  348, 
Verona,  Fra  Giovanni  da,  100 ; 
Madonnas^  purity  and  refinement 
of,  248 ;  portraiture,  love  of,  58, 
81,  98,  170,  216,  218,  253;  Putti: 
see  that  title ;  Raphael,  comparison 
with,  113  (note  *),  146,  177  (note  1), 
202  ;  Raphael's  pupils,  comparison 
with,  147  (note  i),  247 ;  reality, 
human  aspect,  104 ;  sculpturesque 
effect,  179;  sensuous  types  of 
beauty,  25,  79,  173,  246,  e  seg.\ 
single  figures,  excellence  of,  141, 
161,  174,  195;  types,  149. 

Palazzo  del  Comune  di  Siena,  by 
Cav.  Fortunato  Donati,  206  (note  *). 

Palazzo  Pubblico,  Frescoes — Becca- 
fumi's  decorations,  192  ;  description 
of  Bazzi's  work,  193-5  ;  list,  341, 
342  ;  Madonna  and  Childwith  SS. 
Ansano  and  Galgano,  214,  342; 
Madonna  di  San  Calisto,  193 
(note  *),  195,  341  ;  payments,  etc., 
entries  in  registers,  307-14  ;  Resur- 
rection of  Christ,  The,  214,  215,  252, 
341  ;  valuation  by  Beccafumi,  310. 

Palestra  Tolomei  frescoes :  see 
Passion  Series. 

Paleologi,  Guglielmo  VII,  and  Boni- 
facio v.,  Marquises  of  Monferrato, 
40. 

Palii — Bazzi's  entrances  for,  in  Siena 
and  Florence,  17-19,  64,  117,  125, 
155,  189;  records,  289-93. 

Palio  and  Ponte  :  see  Hey  wood. 

Palladio,  Blasio — Farnesina  frescoes, 
Rome,  132  (note  '),  133. 

Pallavicini,  Abbot  Tomaso,  75  (note  i). 

Palmieri,  Giovanni — Decoration  of 
Porta  S.  Viene,  Siena,  201,  318. 

Pandol/o  Petrucci — Portrait  of,  59, 
166  (note),  338. 


Paolo,  Fra,  da  Recco — Cloisters,  S. 
Anna  in  Greta,  T]. 

Paris— Pictures  and  drawings,  367, 
382,  387,  394,  398 ;  Lorenzo  di 
Pavia,  Genealogy  of  the  Virgin, 
46  (note). 

Parma — Bazzi  at,  166-8;  birthplace  of 
Michel  Angelo  Anselmi,  97,  166, 167. 

Parmigianino — The  Portrait  of  a  Lady 
at  Frankfurt-am-Main  attributed 
to,  60,  356. 

Parmigiano — Incomplete  Genealogy 
of  the  Madonna,  ^.y  (note). 

Passalacqua,  Antonio  di  Michel- 
angelo, 194  (note  ). 

Passion  Series  frescoes — S.  Croce 
Confraternity,  184-6,  344-6,  371. 

Patrons — Cervelliera,  Giovan'  Battista 
del,  227,  228  (note  i) ;  Chigi, 
Agostino :  see  that  title  ;  Prince  of 
Piombino :  see  that  title ;  Savini 
family,  64,  68  ;  Spannocchi  family : 
see  that  title. 

Pavia,  Lorenzo  di — Genealogy  of  the 
Madonna,  46  (note). 

Pavement  Masters  of  Siena,  The,  by 
R.  H.  Hobart  Cust,  175  (note  »), 
176  (note  »)r  186  (note  2). 

Pavement  of  the  Duomo,  Siena — 
Design  for,  186. 

Pecci,  Cav.  Giovanni  Antonio — Bazzi's 
title  of  Count  Palatine,  212;  Cap- 
pella  di  Piazza,  Siena,  205  (note  *), 
206  (note  *) ;  frescoes,  Palazzo 
Pubblico,  Siena,  193  (note  *) ; 
Memmi,  Simone,  painting  by,  196 ; 
Porta  S.  Viene,  Siena,  painting, 
202, 203  (note  1) ;  Relazione,  etc.,  371. 

Pecori,  Can.  Luigi — San  Gimignano 
frescoes,  103  (notes  1,  ',  *). 

Perego,  Don  Luigi  M. — Monte  Oliveto 
Maggiore  frescoes,  89  (note  ^),  91, 
105  (note  ^). 

Pergamo,  Niccolo  da,  (Bergamo) — 
Father  of  Angelina  Bazzi,  31,  256, 


INDEX 


433 


Perugino,  80;  destruction  of  pictures 
at  S.  Francesco,  70,  72  ;  Genealogy 
of  the  Madonna  (incomplete),  47 
(note) ;  portrait  of,  in  School  of 
Athens,  alleged,  114,  252 ;  Vatican 
paintings,  no,  112. 

Peruzzi,  Baldassare — Bazzi's  frescoes 
at  Palazzo  Pubblico,Siena,  valuation 
of,  194,  308,  311,  313  ;  Bazzi's  fres- 
coes in  the  Chapel  of  S.  Catherine, 
comments  on,  177  (note  ^) ;  Capo- 
Maestro  of  the  Opera  del  Duomo, 
Siena,  216  (note  i) ;  friendship  with 
Giuliano  di  Niccol6  Morelli,  15 
(note  1) ;  pictures  and  drawings 
attributed  to,  351,   356,   364,    377, 

391.  393.  396. 

VeXxzxch—Dialogo  del  Segreto,  153 
(note  *). 

Petrucci,  Cardinal  Alfonso,  133;  owner 
of  racehorses,  18,  120,  291,  292. 

Petrucci,  Francesco — Picture  for,  by 
Beccafumi,  186,  187,  303,  304. 

Petrucci,  Pandolfo  —  Decoration  of 
palace,  85  (note  1),  343 ;  marriage 
of  his  daughter,  109  (note);  por- 
trait by  Bazzi,  59,  166  (note),  338. 

Petrucci  family,  216  (note  ^);  portraits 
of,  184  (note  ^). 

Pezzana  —  Storia  di  Parma,  168 
(note  1). 

Phylolauro   Da    Cave — Verses,    216, 

217,  330.331- 
Piancastagnaio — Painting  in  S.  Barto- 

lommeo  by  Matteo  Balducci,    157. 
Pianta,  Antonio,  father  of  Costantina 

Spanzotto,  39,  267. 
Pianta,  Niccol6,  kinsman  to  Antonio, 

39- 
Pianta,  Spagnolio,  brother  to  Antonio, 

39- 
Piccolomini,  Giovanni  Battista — Cap- 

pella  di  Piazza,  Siena,  208. 
Pictorial  Chronicle  of  Siena,  A,  by 

W.  Heyvvood,  115  (note  *). 


Pictures  by  Bazzi — Adoration  of  the 
Magi,  The,  S.  Agostino,  Siena,  216, 
217,  344;  Agojtyinthe  Garden,The, 
184,  185  ;  Banners  :  see  that  title  ; 
Biers,  see  that  title  ;  Cenacolo, 
Monte  Oliveto,  Florence  :  see  Last 
Supper ;  Charitas,  paintings :  see 
that  title ;  Christ  bearing  His  Cross, 
paintings :  see  that  title  ;  Christ 
bound  to  the  Column,  S.  Francesco : 
see  that  title  ;  Circumcision,  The,  by 
Luca  Signorelli :  see  Circumcision, 
The ;  Crucifixion,  The,  paintings  : 
see  that  title ;  Dead  Christ,  The, 
paintings  :  see  that  title  ;  Deposition 
from  the  Cross,  The,  S.  Francesco  : 
see  that  title  ;  Descent  from  the 
Cross,  The,  Volterra,  227,  378 ; 
destruction  of  pictures  by  fire, 
70,  72 ;  Frescoes :  see  that  title  ; 
Genealogy  of  the  Virgim:  see  that 
title  ;  inventory  of  pictures  left 
after  death  :  see  Death  ;  Judith,  85, 
343  ;  Leda,  pictures  and  drawings  : 
see  that  title ;  lists  of  authentic, 
attributed,  and  missing  drawings 
and  pictures,  341-98;  Lucretia, 
pictures  :  see  that  title ;  Madonna, 
The,  pictures  :  see  that  title ;  Mar- 
riage of  S.  Catherine,  The,  it.'j,  352  ; 
Nativity,  The,  pictures :  see  that 
title  ;  Nativity  of  the  Virgin,  The, 
pictures,  219,  220,  345,  347;  Our 
Lady,  SS.  Elizabeth  and  Joseph 
(tondo),  2 1 8,  329,  358 ;  Pietd:  see  that 
title ;  Porta  Pispini  (S.  Viene) :  see 
that  title  ;  Portraits  :  see  that  title  ; 
Resurrection,  The,  pictures,  214, 
215,  253,  341,  352;  Sacrifice  of 
Abraham,  The,  229,  231,  352 ;  ^. 
George  and  the  Dragon,  164,  165, 
360 ;  5.  Homobonus  giving  Alms 
attributed,  166,  353 ;  S,  Ivo  dis- 
pensing Justice,  103,  350;  6". 
Sebastian,  banner:  see  that  title; 

28 


434 


INDEX 


Scenes  from  the  Life  oj  the  Virgin^ 
1 1 5  (note  2);  Swoon  ofS.  Catherine, 
The,  drawing,  6i  ;  Virgin  and 
Child,  The,  pictures :  see  Madonna 
paintings  ;  Way  of  the  Cross,  The, 
pictures:  see  Christ  beariftg  His 
Cross. 

Picture  Sales  of  the  Century,  by  Red- 
ford,  I  (note  '). 

Pienza — Alleged  baptismal  certificate 
at,  7. 

Pietd — by  Martino  Spanzotto,  at 
Casale  Monferrato,  50. 

Pietd  —  Bier  for  Compagnia  della 
SS.  Trinita,  Siena,  172,  346;  for 
the  Compagnia  di  S.  Giovanni 
Battista  della  Morte,  183,  346; 
Dead  Christ  {Madonna  del  Corvo), 
220,  346 ;  Pisa,  Duomo,  229,  230, 
352 ;  Rome,  Borghese  Gallery, 
115,  351  ;  S.  Anna  in  Creta,  80,  348. 

Pinturicchio — Death  of,  157  ;  Libreria 
frescoes,  82,  83,  84 ;  Life  of,  by 
Corrado  Ricci,  156  (note  -) ;  Matteo 
Balducci,  pupil  of,  156,  157;  pic- 
tures destroyed  by  fire,  70,  72 ; 
6".  Sebastian,  1 1 1  (note  *) ;  Vatican 
paintings,  no. 

Pippi,  Giulio  (Giulio  Romano) — pupil 
of  Raphael,  247,  248. 

Pisa — Archives  :  see  title  Archivio 
di  State  di  Pisa ;  banners :  see 
Banners ;  calendar,  method  of 
reckoning,  227  (note  ') ;  paintings 
by  Bazzi,  229,  231,  232,  233,  352 ; 
visit  of  Bazzi  to,  227. 

Pitti,  Don  Miniate — Friendship  with 
Vasari,  75  (note  ^),  94,  263  (note  1). 

Pitti  Gallery — Ecce  Homo,  351;  por- 
trait, 253,  351. 

Pompe  Sanesi,  Le,  by  Padre  Isidoro 
Ugurgieri-Azzolini,  i  (note  ^),  22, 
262,  263. 

Pontormo — Drawing  of  A  Lady  in  the 
Uffizi,  attributed  to,  61  (note  2). 


Pope  Julius  II.,  109,  114,  133. 

Pope  Leo  X. — Bazzi  introduced  to, 
152;  coronation,  148;  election,  150; 
Florence,  visit  to,  152;  Francis  I.> 
meeting  with,  at  Bologna,  151  ; 
verses  on  an  antique  statue  of 
Lucretia,  153  (note  ^). 

Pope  Pius  III.,  Death  of,  82. 

Port'  Ercole— Sale  of,  107. 

Porta  Pispini  (S.  Viene) — Frescoes, 
201,  202,  252,  315-18,  346. 

Portraits — Archbishop,  The,  59,  338 ; 
Bazzi  represents  saints,  etc.,  by 
portraits,  58  ;  Finding  of  the  Cross, 
The,  184  (note  ^);  Lady,  Por- 
trait of  A,  59-61,  356;  Lady  in 
the  Uffizi,  drawing  of  A,  attributed 
to  Bazzi,  61  (note  -) ;  Madonna 
and  Child,  portrait  of  a  mother  and 
child,  58,  170,  354;  Man,  Portrait 
of  a,  British  Museum,  254,  368 ; 
Monte  Oliveto  Maggiore  frescoes, 
see  Monte  Oliveto  Maggiore  ;  Pan- 
dolfo  Petrucci,  59,  166  (note). 

Portraits  of  Bazzi  himself — Adoration 
of  the  Magi,  The  ("  pastore  "  tra- 
ditional likeness),  217,  344;  Christ 
bound  to  the  Column,  128,  252 ; 
Deposition  from  the  Cross,  The 
(soldier),  73, 252  ;  Leccetto  Nativity, 
angel  in,  69,  251,  344;  Madonna 
and  Child  with  Saints,  Pisa  (S. 
Joseph  alleged  portrait),  234,  253, 
352;  Monte  Oliveto  frescoes,  64,  89, 
93,  251,  253  ;  Porta  Pispini,  Siena, 
201 ,  252 ;  portrait  in  the  Pitti  Gallery, 
253>  351;  portrait  in  the  Uffizi 
Gallery,  7,  253,  351  ;  Portrait  of  a 
Man,  drawing  in  the  Uffizi,  254, 
363;  Raphael,  113,  114,  369;  Re- 
surrection, The,  Naples,  215,  253, 
352 ;  Resurrection,  The,  Palazzo 
Pubblico,  Siena,  214,  252,  341 ; 
S.  Anna  in  Creta  frescoes,  78,  81, 
82,  83,  347 ;  5.  Sebastian  banner, 


INDEX 


435 


252  ;  Saracini  family,  a  lady  of  the, 
59,  338 ;  School  of  Athens,  The,  1 14, 

252  ;  Siena  Public  Library  (copy), 

253  ;  Spanish  Soldier,  A,  198,  314 ; 
Toscani  family,  a  lady  of  the,  59, 

338. 

Posi,  Ser  Niccolo  —  Notary,  96 
(notes  ^  *),  286. 

Poverty,  alleged — Erroneous  state- 
ments: of  Bazzi,  2,  188,  225,  228, 
237  ;  of  his  parents,  29,  30. 

Presentation  in  the  Temple,  The — 
Fresco  by  Luini,  83. 

Presentation  of  the  Virgin,  The  :  see 
S.  Bernardino,  Siena. 

Prince  of  Piombino — Friendship  with 
Bazzi,  18,  65,  123;  correspondence, 
4,  122,  150,  151,  210,  212,  289, 
325-8  ;  visits  to,  20,  131  (note  ^), 
209,  210. 

Priuli-Bon,  Contessa — Sodoma,  67 
(note  1),  107  (note  1),  182  (note  % 
188  (note  1),  190. 

Property,  Bazzi's — Dowry  to  daughter, 
237;  houses  in  Siena,  222-5,  332-4; 
inventory  of  goods  left  at  death  :  see 
title  Death  ;  patrimony,  54 ;  poverty 
alleged :  see  that  title  ;  removal  of 
goods  from  studio:  see  Magagni, 
Giomo  del  Sodoma. 

Puccinelli,  Placido  —  Nobiltd  del 
Notaio,  38. 

Pupils — Anselmi,  Michel  Angelo  :  see 
that  title  ;  apprentices  at  the 
Siena  Duomo,  125,  126 ;  Lorenzo 
Brazzi,  "  II  Rustico  "  :  see  Brazzi ; 
Magagni,  "  Giomo  del  Sodoma  "  : 
see  that  title  ;  Matteo  Balducci :  see 
Balducci ;  Melchion,  95,  270,  272 ; 
Pacchia,  Girolamo  del :  see  that 
title  ;  Tamagni,  Vincenzo  :  see  that 
title ;  Tucci,  Giovanni  Maria,  234, 

239- 
Putti — Beauty  of  Bazzi's,  113  (note  ^), 

^n^  195. 202. 


Pyrotechnics,  Work  on,  by  Van- 
noccio  Biringucci,  216  (note  ^). 

Querela,  Giacomo  della  —  Bazzi's 
studies  of  sculptures  by,  16,  52 
58,  65,  66,  363. 

Racconto  dei  Pitture,  etc.,  by  Alfonso 
Landi :  see  Landi. 

Ragguaglio  del  Nuovo  Istituto  delle 
Belle  Arti :  see  De  Angelis. 

Ragguaglio  delle  Cose  di  Siena,  by 
Giulio  Mancini,  242  (note  1). 

Ragnoni,  Ramezio  and  Ugucia — 
Founders  of  the  Convent  of  S.  Anna 
in  Creta,  76. 

Ranza,  Giovanni  Antonio,  34  (note). 

Raphael  —  Alexander  and  Roxana, 
studies  for,  attributed  to,  139,  363, 
366,  393 ;  children,  paintings  re- 
sembling Bazzi's :  see  Children  ; 
comparison  with  Bazzi,  113,  141, 
148,  202 ;  drawings  attributed  to, 
113.  254,  366,  368,  369,  380,  393; 
friendship  with  Bazzi,  1 12-14;  male 
models,  62  (note  ^),  172  (note  ^) ; 
paintings  destroyed  by  fire,  70, 
72;  portrait  by  Bazzi,  113,  369; 
pupil  Giulio  Pippi,  248 ;  School 
of  Athens,  The,  114,  140,  252,  369; 
Vatican  paintings,  109-15,  146; 
Villa  of  Agostino  Chigi,  work 
at,  132. 

Raphael,  by  Eugene  Muntz,  62  (note  *), 
109  (note  1). 

Raphael,  his  Life  and  Works,  by 
J.  A.  Crowe  and  G.  B.  Cavalcaselle, 
109,  148  (note  1),  396. 

Rassegna  d'Arte,  61  (note  -),  359. 

Razzi — Frequent  use  of  this  incorrect 
name,  i. 

Reale  Galleria  di  Torino  Jllustrata, 
La,  by  Marchese  Roberto  d'Azeglio, 
52  (note  1). 


436 


INDEX 


Reale  Galleria  Estense,  La,  by  Cav. 

Adolfo  Venturi,  164  (note  ^). 
Redford — Picture  Sales  of  the  Cen- 

tury,  I  (note  ^). 
Reggio    d'Emilia  —  5".    Homobonus 

giving  Alms,  166,  353. 
Renaissance  in  Italy,   The,  by  John 

Addington  Symonds,  173  (note  ^). 
Repertoritim  fiir  Kunstwissenschaft, 

34  (note),  60  (note  %  356,  381. 
Rerum  Italicorum  Scripta,  by  Mura- 

tori,  205  (note  *),  206  (note  i). 
Resmrection,  The — Pictures  and  draw- 
ings of,  214,  215,  252,  253,  341,  352, 

363.  364,  365,  374,  390- 
Revue  Encyclopedique  Larousse,  La 

367- 

Rhea  Silvia — Statue  by  Querela,  66. 

Rhodes,  Siege  of,  44,  41;. 

Ricci,  Coram.  Corrado — Fonte  Gaia, 
Siena,  66  (note  ') ;  Pintoricchio, 
his  Life,  Work,  and  Times,  1 56. 

Ricci,  Fra  Timotheo  de — Frescoes  at 
S.  Spirito,  Siena,  197. 

"  Riccio,  II  "  (Bartolomeo  Neroni,  or 
Negroni) — Choir-stall  design,  225 
(note);  Crucifixion,  The,  attributed 
to,  227  (note  1),  379;  daughters,  14, 
224,  225  (note),  256  ;  figures  for  the 
Compagnia  di  S.  Giovanni  della 
Morte,  1 5  (note  1) ;  finishes  fresco 
by  Magagni,  241  ;  marriage  (first), 
14,  90,  97  (note  %  223  (note  ^),  237  ; 
marriage  (second),  224  (note),  244  ; 
property,  sale  of,  224 ;  will,  144, 
307  ;  work  and  life,  242-5. 

Richardson,  J.  (the  younger) — Severe 
criticism  of  Farnesina  Frescoes, 
147  (note  -). 

Richter,  Luise  M. — Zeitschrift  fiir 
bildende  Kunst,  66. 

Rieffel,  Franz — Article  in  Repertorium 
fiir  Kunstwissettschaft,   34  (note), 

381. 
Rignoni,  Pietro,  of  Vogogna,  38, 


Rinaldi,  Scipione,  14,  224,  256. 

Rinaldo — Farnesina  frescoes  attri- 
buted to,  148  (note). 

Rio,  M,  Albert — De  I'Art  Chretien, 
26. 

Risen  Christ,  The — Statue  on  Bandini 
Piccolomini  tomb,  126. 

Rivetta,  Baron  Giorgio — Documents 
re  Spanzotto  family,  36  (note  ^). 

Road  in  Tuscany,  The,  by  Maurice 
Hewlett,  180  (note). 

Rom  in  der  Renaissance  van  Nicolatis 
V.  bis  auf  Leo  X.,  by  Dr.  Ernst 
Steinmann,  r  1 1  (note  *). 

Romagnoli,  Ettore — Biographia  Cro- 
nologica,  etc.,  MS.,  references  to 
Bazzi,  7  (note  *),  66  (note  ^),  106 
(note  1),  173  (note  i),  199  (note  ^), 
204  (note  ^),  211  (note  '),  212 
(note  1),  214  (note  ^),  224  (note  '), 
225  (note  ^),  253  (note  ^),  341,  344, 
345,  346,  347,  351.  362,  372,  373, 
385,  386,  389. 

Romano,  Giulio  :  see  Pippi. 

Rome — Art  circle,  1 10  ;  Farnesina 
frescoes :  see  that  title ;  paintings 
by  Bazzi,  102  (note  '),  115,  350, 
351.  377,  386  ;  paintings  by  Pier 
Antonio  Spanzotto  in  Castel  Sant' 
Angelo,  37  ;  Vatican  :  see  that  title. 

Roretis,  Gandolfino  di — Genealogy  of 
the  Virgin,  46  (note). 

Roscoe,  W. — Life  of  Leo  X.,  153 
(note  ^). 

Rosini,  G. — Picture  by  Bazzi  in  col- 
lection of,  360 ;  Storia  della  Pittura 
Italiana,  233  (note  ^),  248. 

Rossi,  MM.  G.  B.  de,  79  (note  ^). 

Rossi,  Pietro — "//  Sodoma''  nelV 
Arte  Senese,  5 1  (note),  70  (note^),  86. 

Rothes,  Walther — Die  Bluthezeit  der 
Sienesischen  Malerei,  245  (note  i). 

Rumohr,  Baron — Italienische  Forsch- 
ungen,  126  (note  ^),  381,  388. 

"  Rustico,  11 "  :  see  title  Brazzi. 


INDEX 


437 


Sacrifice  of  Abraham,  The,   229-32, 

352. 

S.  Anna  in  Creta — History  of  the 
Convent,  76. 

S.  Anna  in  Creta  frescoes — Alle- 
gorical Cycle,  resemblance  to,  86 ; 
commission  contract,  75,  T]^  81, 
268;  date,  75,  82,  83,  84,  95; 
description  of,  77-81;  "garzone," 
82  ;  list  of,  347,  348 ;  Luini's  Pre- 
sentation in  the  Temple^  resem- 
blance, 83  ;  Pinturicchio's  frescoes, 
resemblance,  82,  83,  84. 

^.  Ansano  fresco,  193,   194,  195,  309, 

311,  341. 
S.  Benedict — Series  of  frescoes  :  see 

Monte  Oliveto  Maggiore  Frescoes. 
S.  Bernardino — Spiritual  influence  of, 

179- 

S.  Bernardino,  Siena,  Frescoes  by 
Bazzi — Accounts  in  the  ledgers  of 
the  Confraternity,  2,  150,  151,  158 
(note),  159,  162,  166,  199  (note  % 
295,  Assumption,  The,  comparison 
with  the  Resurrection  of  Christ,  215, 
date  of  execution,  158,  162,  199, 
description  of,  159-61,  199,  list 
of,  342,  sketches  for,  160  (note  1), 
367,  369;  frescoes  by  Marco  di 
Giovanni,  158. 

^.  Catherine — Spiritual  influence  of, 
179. 

S.  Catherine's  Chapel,  Siena,  frescoes: 
see  S.  Domenico. 

S.  Croce,  suppressed  Confraternity 
of — Passion  Series  frescoes  :  see 
that  title. 

S.  Domenico,  Church  of,  Siena — 
Assumption,  Banner  of  The,  183, 
343 ;  Chapel  of  the  Rosary,  painting 
of  God  the  Father,  etc.,  182,  343 ; 
history  of  S.  Catherine's  Chapel, 
I75i  176;  S.  Catherine's  Chapel 
frescoes,  agreement  to  paint,  176, 
comparison  with  other  works,  72, 


113,  178  (note  ^) ;  completion  by 
Francesco  Vanni,  181,  description, 
176-81,  destruction  of  ceihng,  177, 
list  of,  342,  poem  on  the  fresco  of 
S.  Catherine  by  Algernon  Charles 
Swinburne,  179  (note  ^),  /*«//?' com- 
pared with  Raphael's,  113,  177 
(note  ^),  retouched,  177  (note  ^), 
sketches  and  designs,  61,  176,  177, 
178,  363.  364.  365.  368,  391. 

S.  Francesco,  Convent  of,  Siena — 
Christ  bearing  His  Cross,  87,  386  ; 
frescoes,  Christ  bound  to  the  Column: 
see  that  title,  decorative  pieces,  371, 
Deposition  from  the  Cross,  The  :  see 
that  title,  Invention  of  the  Cross, 
The,  72,  87  (note  1),  384;  Putto 
and  angels,  342  ;  "  Guardians," 
129-31. 

6".  Francis — Spiritual  influence  of,  179. 

^.  George  and  the  Dragon,  164,  165, 
360. 

S.  Giovanni  Battista  della  Morte — 
Bier  by  Bazzi,  183,  298-300,  346. 

S.  Gregory — Life  of  S.  Benedict,  91, 
92. 

5.  Homobonus  giving  alms,  166,  353. 
^.   Ivo    dispensing  Justice — Fresco, 

103,  117.  350- 
^.  James  on  horseback  :  see  S.  Spirito 

Fresco. 
^.   Maria    del   Pontinuovo,    Notizie 

Inedite    di — Extract     from,     233 

(note  2),  335. 

6.  Paul — by  M.  A.  Anselmi,  167. 

S.  Peter — Statue  of,  for  the  Siena 
Duomo,  125,  126. 

il".  Sebastian — by  Pinturicchio,  in 
the  Appartamento  Borgia  of  the 
Vatican,  1 1 1  (note  2). 

3".  Sebastian  banner — Compared  with 
The  Sacrifice  of  Abraham,  231 ; 
completed  by  Beccafumi,  173,  351 ; 
description,  173,  174,  351  ;  pay- 
ments  for    work,     172,     173,     175, 


438 


INDEX 


300-303 ;  portrait  01  Bazzi  on 
reverse  side,  252 ;  resemblance  to 
drawing  by  Leonardo,  174  (note  i)  ; 
reverse  side,  description  of,  174, 
351  ;  purchase  of,  from  the  Con- 
fraternity, 175. 

6".  Sebastian — Drawing,  for  Spanish 
Chapel  fresco,   197,  367. 

5".  Scholastica — Paintings  of,  by  Bazzi 
and  Boltraffio,  78. 

S.  Spirito,  Church  of,  Siena — 77/1? 
Assumption  by  Matteo  Balducci, 
157;  frescoes  by  Bazzi,  description 
of,    196-8,    345  ;   designs  for,    197, 

345.  364- 
3".     Vittofio    fresco,    193,    194,    195, 

307- '4,  341.  363- 

SS.  Giovannino  and  Gennaro,  Confra- 
ternity of — Bier  heads,  184,  346. 

Salaino,  Andrea,  pupil  of  Leonardo, 

57- 
Salimbeni,    Ventura — Paintings,     15, 

242. 
Salomoni,  Angiolo — Memorie  Storico- 

diplomatiche,  etc.,  38  (note  *). 
Salviati,  Cardinal,  87  (note  i),  386. 
San  Gallo,  Aristotile  di,  no. 
San      Gimignano  —  Frescoes,      102, 

103,  117,  350;   home  of  Vincenzo 

Tamagni,  95,  97,    116. 
Sansedoni,  The  Blessed  Ambrogio — 

Races  in  honour  of,  117,  118,  119, 

289,  290. 
Sant'  Ambrogio,  Diego  di,  46  (note), 

123  (note  1). 
Sant'  Angelo,  Cardinal  di — Letter,  1 54 

(note). 
Saracini  family — Portrait  of  a  lady  of 

the,  59,  338. 
Saronno — Luini's     frescoes     in     the 

Santuario  at,  83. 
Sarto,  Andrea  del — Frescoes  by,  100 

(note). 
Sassetta,  Marchese  della — Owner  of 

racehorses,  120,  291,  292. 


Savini      della      Costarella,      Enea — 

Mado7ina  and  Child  by  Bazzi,  68 

(note),  384. 
Savini  family — Patronage  of  the,  64, 68. 
Scenes  fro7n  the  Life  ofS.  Benedict — 

Miniatures  by  Riccio,  243. 
Scenes  from  the  Passion — Paintings 

on  the  predella  of  The  Descent  from 

the  Cross,  73,  344. 
Schmarzow,    A.  —  Bazzi's    paintings, 

1 1 1  (note  ^),  115  (note  ^),  376. 
School  of  Athens,  The,  114,  140,  252, 

369- 

Schuchhardt,iKarl — Bazzi's  paintings: 
Das  Jahrbuch  der  Kofiiglichen 
Pre7cssischen  Kunstsammlungen,  70 
(note  1),  73  (note  %  84,  85,  86,  116 
(note^),  151  (note*),  343,  356. 

Scorel,  Jan — The  Portrait  of  a  Lady, 
attributed  to,  60  (note  ^),  356. 

Scricciolo,  Gianni — Aids  Giomo  del 
Sodoma  to  remove  goods  from 
Bazzi's  studio,   187,  304-7. 

Scritttira  di  Artisti  Italiana,  La,  187 
(note  ^),  304  (note  1). 

Sculpture — Bazzi's  taste  for,  58,  67, 
126, 191,305.306,338,339;  Querela, 
Giacomo  della  :  see  that  title ;  sRisen 
Christ,  The,  statue  attributed  to 
Bazzi,  126 ;  statue  of  S.  Peter 
ordered,  125. 

Sebastiano  d'  Andrea  —  Bazzi  pur- 
chases property  from,  223,  332-4. 

Sebastiano  del  Piombo — -Agostino 
Chigi  brings  him  from  Venice,  134  ; 
The  Portrait  of  a  Lady  at  Frank- 
furt-am-Main  attributed  to,  60,  356 ; 
work  at  the  Farnesina,  132. 

Selected  Drawings  by  Old  Masters  in 
the  University  Galleries,  atid  in  the 
Library  at  Christ  Church,  Oxford, 
by  Sidney  Colvin,  113  (note  ^). 

Sellaro,  Pompilio,  224  (note  ^). 

Sensations  d'ltalie,  by  Paul  Bourget, 
105. 


INDEX 


439 


Seta,  Messer  Bastiano  della — Employ- 
ment given  to  Bazzi,  228. 

Sforza,  Lodovico  ("  il  Moro  "),  Duke 
of  Milan,  56. 

Signorelli,  Luca — Circumcision,  The, 
at  Volterra,  226,  360;  frescoes  at 
Monte  Oliveto  Maggiore,  76,  88, 
104,  105,  at  the  Vatican,  no,  iii 
(note »). 

Sketches  on  the  Old  Road  through 
France  to  Florence,  227  (note  '). 

Siena — Affection  of  Bazzi  for,  57  ; 
Archives,  see  Archivio  di  Stato  di 
Siena,  etc.  ;  birthplace  of  Bazzi, 
supposititious,  6,  7,  57 ;  Cappella 
di  Piazza,  Siena :  see  that  title ; 
church  of  the  Carmine,  219,  345  ; 
currency,  255;  disturbances,  171, 
195  (note  1),  196 ;  Duomo,  Pintu- 
ricchio  frescoes  in  Libreria,  82,  83, 
84  ;  Fonte  Gaia,  by  Giacomo  della 
■Querela,  52,  66,  363  ;  gates,  decora- 
tion of,  200,  Porta  Pispini :  see  that 
title ;  home  of  Bazzi,  6,  25,  73, 
222,  223,  225,  332-4;  Loggia  de 
Mercanzia,  decorations  by  "  II  Rus- 
tico,"  242  ;  Madonna  de'  Calzolari, 
203,  346 ;  Madonna  del  Corvo, 
220,  346 ;  Opera  del  Duomo :  see 
that  title  ;  Palazzo  Pubblico :  see 
that  title ;  Palii,  notes  on :  see 
that  title  ;  S.  Agostino :  see  The 
Adoration  of  the  Magi ;  S.  Ber- 
nardino Oratory :  see  that  title  ; 
S.  Croce  frescoes :  see  Passion 
Series ;  S.  Domenico  :  see  that  title  ; 
S.  Francesco :  see  that  title ;  S. 
<3iacomo,  Christ  bearing  his  Cross, 
236  (note  ^),  345 ;  S.  Mustiola, 
Madonna  and  Child,  by  Giomo  del 
Sodoma,  241  ;  S.  Spirito :  see  that 
title ;  S.  Sebastian  banner  :  see  that 
title ;  Villa  Nerucci  (Monistero), 
220,  347  ;  Villa  Farnesina  frescoes  : 
see  Farnesina. 


Siena  e  il  stio  Territorio,  182  (note  '), 

passim  in  Picture  Lists. 
Sienese — Admiration    of,   for  "QdiZTx, 

57- 

Sienese  earrings  in  picture  of  Gentle- 
woman at  Frankfurt  a/M.,  60. 

Sinai unga,  Collegiata,  221,  347. 

Sodoma,  sobriquet  of  Bazzi — Acqui- 
sition of,  17-19  ;  first  appearance  of 
name,  date,  117,  118;  "nom  de 
guerre,"  21;  official  recognition  of, 
19,  25,  124,  150;  opprobrious  nature 
of  name,  alleged,  16,  19,  22,  23,  24  ; 
racing  sobriquet,  18,  19,  117,  n8  ; 
spelling  of  name,  variety  of,  21 
(note  1)  ;  title  attached  to,  20,  21. 

Sodoma,  by  Contessa  Priuli-Bon  : 
see  Priuli-Bon. 

Solimei,  Contessa  Zucchini — Christ 
appearing  to  His  Mother  after 
His  Resurrection,  lyj  (note  ^),  353. 

Some  Overlooked  Masterpieces,  17$ 
(note  ^). 

Spaniards  in  Siena,  The,  196-9. 

Spannocchi,  Giulio,  Antonio  and 
Ambrogio,  56  (note  ^). 

Spannocchi  collection.  The,  219,  362, 

371,  390- 

Spannocchi  family — Friendship  and 
patronage,  52,  56,  61,  64,  108 
(note  1),  356. 

Spanzotto,  Martino — Apprenticeship 
of  Bazzi,  5,  29,  32,  155,  257;  Casale, 
home  at,  35,  40,  49 ;  death,  41  ; 
influence  on  his  pupils,  51  ;  paint- 
ings, "  Ancona,''  for  church  of  Sta 
Maria  di  Piazza  at  Casale,  40 ;  in- 
fluence of  school  of  Foppa,  alleged, 
5 1  (note  *),  Madonna  and  Child  at 
Turin  (two  pictures),  41-3,  Pietd, 
Casale,  50,  Polyptych  in  Baptistery 
of  the  Duomo  at  Chieri,  44,  45,. 
Polyptych  in  S.  Antonio  at  Casale 
Monferrato,  46-50,  5".  Francis  re- 
ceiving the  Stigmata,  41,  S.  Paolo, 


440 


INDEX 


Vercelli,  for  Niccolo  d'Ajazza,  33, 

39,  265,  for  Tana  family,  43,  44 ; 

training,   50 ;    place  in  Italian  art, 

34 ;    pupil    Defendente    Deferrari, 

34,  40,  5 1 ;  wife's  lawsuit,  39 ;  home 

at  Vercelli,  39. 
Spanzotto,  Pietro — Genealogy  of  the 

Madonna  attributed  to,  49. 
Spanzotto,  Pier  Antonio,  37. 
Spanzotto  family — History  of,  34-8 ; 

pedigree,  267. 
Spotorno,   G.   'B.Storia    Letteraria 

della  Liguria,  44  (note  1). 
Stanze  Diversi,  published  by  Giolito, 

153  (note  3). 
Stanze  di  diversi  Autori,  collected  by 

Antonio  Terrain  o,  154  (note). 
Steinmann,  Dr.  Ernst,  in  (note  -). 
Storia  della  Basilica  di  S.  Francesco 

in  Siena,  La,  by  Vittorio   Lusini, 

70    (note  3),   71,    72,    87   (note  ^), 

130. 
Storia  della  Terra  di  San  Gimignano, 

by  Can.  Luigi  Pecori,    103   (notes 

Storia  della  Vercellese  Litteratura  ed 
Arti,  by  Cav.  Gaspare  Antonio  De 
Gregory,  34  (note). 

Storia  della  Volgare  Poesia,  by  Cres- 
cimbeni,  1 53  (note  ^). 

Storia  Letteraria  della  Liguria^  by 
G.  B.  Spotorno,  44  (note  1). 

Strong,  S.  Arthur — Critical  Studies, 
etc.,  369;  Drawings  in  the  collec- 
tion of  the  Earl  of  Pembroke,  160 
(note  1). 

Struggle  for  the  Standard,  The,  by 
Leonardo  da  Vinci,  99  (note  ^). 

Strutt,  E.  C. — Fra  Filippo  Lippi,  105 
(note  ^). 

Subiaco,  Church  of  S.  Francesco  at 
— Frescoes,  115  (note  ^),  376. 

Supino,  Igino  Benvenuto — L'Arte  del 
Rinascitnento  nel  Primaziale  di 
Pisa,  228  (notes  ^  ^),  231  (note  *). 


Supplement  aux  Melanges  d'Archeol. 
et  d^Histoire,  by  G.  B.  de  Rossi,  79 
(note  2). 

Swinburne,  Algernon  Charles — Essays 
and  Studies,  27  ;  Songs'before  Sun- 
rise, 179  (note  ^). 

Symonds,  John  Addington — Bazzi's 
Monte  Oliveto  frescoes,  105  (note  ^) ; 
6".  Sebastian  banner,  173,  174. 

Tamagni  (Vincenzo  di  Bartolommeo 
Chelis) — Debt  to  Bazzi,  96,  116, 
286;  paintings,  96,  97,  loi,  344; 
pupil  of  Bazzi,  96,  239. 

Tamagni  family,  103,  117. 

Tana,  Tomaso — Death  of,  44,  45 ; 
pictures  by  Spanzotto  in  memory 

of,  43.  44- 

Tanfani  Centofanti  (or  Tanfani),  Leo- 
poldo — Delia  Chiesa  di  S.  Maria 
del Pontemtovo,  233  (note  ^);  Notizie 
de''  Artisti.  Tratte  dei  Documenti, 
Pisoni,  3,  228  (note  ^). 

Tarlatti,  Guido,  Bishop  of  Arezzo,  81 

Tarver,  J.  C. —  Tiberius  the  Tyrant, 
24  (note  *). 

Termino,  Antonio — Stanze  di  diverst 
Autori,  1 54  (note). 

Tiberius  the  Tyrant,  by  J.  C.  Tarver, 
24  (note  1). 

Tim.es,  The — Use  of  name  "  Razzi,"  i 
(note  '). 

Tiraboschi — Storia  della  Letteratura 
Italiana,  6  (note  -),  1 54  (note). 

Titles  :  see  titles  Cavalier  and  Count 
Palatine. 

Tizio,  Sigismondo — Historiarum  Sen- 
ensium  MS.  :  Birthplace  of  Bazzi, 
6  ;  Biringucci,  Vannoccio  di  Paolo, 
216  (note  ^) ;  Cappella  di  Piazza, 
Siena,  207  (note  ^),  Christ  at  the 
Column,  129;  Descent  from,  the 
Cross,  The,  70 ;  information  re  life 
of  Agostino  Chigi,  108  (note  ^). 

Tjzoni,  family  of  de',  2,  3,  4,  5  (note). 


INDEX 


441 


Tizoni,  Francesco  de',  5,  30,  257. 
Tizoni,  name  of — Adoption  by  Bazzi, 

2,  3,  4,  159,  228,  295  (note  1). 
Tolomei,    The    Blessed    Bernardo — 

Fresco,  194,  195,  341. 
Tolomei,      Francesco — Cappella     di 

Piazza,  Siena,  208,  320,  322,  323 ; 

frescoes  in  the  Palazzo  Pubblico, 

Siena,  194,  312. 
Tondi,   Giovanbattista  di    Jacomo — 

Palazzo  Pubblico  frescoes,  214, 312. 
Toscani  family — Portrait  of  a  lady  of 

the,  59,  338. 
Transfiguration,    The,   by  Girolamo 

Genga,  116,  370. 
Transformation,  by  Nathaniel  Haw- 
thorne, 1 27  (note  ^). 
Trappolino,      Niccolo  —  Letter,      1 5 

(note  1),  67  (note  2),  339. 
Trattato  delta  Pittura,  by  Cennino 

Cennini,  15  (note  ^). 
Trattato  dell'  Arte  della  Pittura   e 

delta  Sculttira,  by  Gio.  Paolo  Lo- 

mazzo,  1 39  (note  ^). 
Treatise  on  Painting  in  possession  of 

Bazzi,  191. 
Trequanda.Castellodi — Fresco  of  7)%^ 

Ascension,  200  (note  1),  215,  350. 
Trinity,     The — by    Giovanni     Maria 

Tucci,  234. 
Trinity  with  Madonna  and  Saints, 

The — Drawing,  182  (note  ^),  364. 
Trissini,  family  of,  of  Lodi — Painters, 

35- 
Trissino,  Giovanni,  da  Lodi — Paint- 
ings at  Vercelli,  33. 
Triumph  of  Neptune,  The — Fresco  at 

Monte  Oliveto  Maggiore,  loi. 
Tucci,     Giovanni     Maria,    pupil     of 

Bazzi — Work,  234,  239. 
Turchi,  Francesco — Lettere  facete    e 

piacevoti,  67  (note  ^),  126  (note  i), 

154  (note),  238,339. 
Turi    di    Pilli — Apprentices    at    the 

Duomo,  Siena,  125  (note  ^). 


Turin — "Ancona,"  by  Macrino  d'Alba^ 
83  (note  1) ;  Genealogy  of  the  Ma- 
donna, 46  (note  1) ;  Lucre tia,  by 
Bazzi,  165,  353  ;  Virgin  and  Child 
with  Saints,  221,  353. 

Tuscan  Art — Influence  of,  69,70,79, 80. 

Uffizi — Pictures  and  drawings,  61 
(note  -),  67,  102  (note  i),  139,  175, 
177,  214  (note  ^),  220,  225  (note), 
226,  253,  254,  346,  348,  351,  363-5, 
386,  390,  398. 

Ugurgieri-Azzolini,  Padre  Isidoro — 
Le  Pompe  Sanesi,  i  (note  -),  22, 
262,  263. 

Ulman,  Yi.—MS.  Notes,  218  (note  »). 

Umbria — Artists  from,  110;  influence 
of  art  school,  58,  80,  83,  348. 

Una  Famiglia  di  Artisti  Casalesi, 
etc. :  see  Negri. 

Une  vue  inedite  de  Rome  en  1459,  by 
A.  Geffroy,  79  (note  *). 

Urbino,  Duke  of — Owner  of  race- 
horses, 119  (note  2),  120,  291. 

Vallardi,  L.  G.  —  La  Contessa  di 
Cellant,  37  (note  1). 

Vanni,  Francesco — Finishes  Bazzi's 
work  at  S.  Domenico,  Siena,  181, 
182  ;  parentage,  15. 

Vaprio,  d'Adda — La  Madonnone  in 
the  Villa  Melzi,  169,  379. 

Vasari,  Giorgio — Vite  dei  piii  Eccel- 
lenti  Pittori,  etc. :  The  Life  of  Bazzi^ 
I  (note  '),  2  (note  ^),  6,  8,  10-13,  Ht 
15,  16,  17,  18,  19,  20,  21,  23,  26,  56, 
57,  58,  61,  63-5,  67,  68  (note  1).  7o 
(note  -),  72,  73,  75  (note  ^) ,  76 
(note  1),  78,  81  (note  1),  82  (note  i), 
85  (note  %  88,  90,  91,  93  (note  1), 
94,  95.  96  (note  »),  97  (note  <),  100, 
105,  107,  112,  114,  116  (note  *),  122 
(note  3),  123,  124,  125  (note  i),  128, 
131.  133.  139  (note  2),  144,  145, 147, 
150,  151  (note  *),  152,  161  (note  i)» 


442 


INDEX 


165  (note  »),  171  (note  »),  175,  176 
177  (note  *),  178  (note  i),  180 
(note  1),  181  (note  i),  182,  183, 
184  (note  1),  189,  190,  192  (note  '), 
194  (note  *),  198  (note  *),  201 
(note  *),  203  (note  *),  204,  214,  217, 
218  (note  *),  219  (note  ^),  220 
(note  1),  224  (note  ^),  225  (note  '), 
226  (note  2),  227,  228  (notes  S  ^), 
234  (note  «),  235,  238,  239,  240,  243 
(note  '),  244,  245,  246,  249,  251 
(note  ^),  252  (notes  \  *),  263,  286, 
343.  344,  384,  385  ;  ^^P  of  Becca- 
fumi,  The,  16  (note  ^),  61. 

Vatican — Artists  employed  at  the,  1 10; 
frescoes  by  Bazzi,  date  of  execution, 
107,  no,  description  of,  no,  in, 
destruction  of,  ni,  112,  114,  131, 
133,  134,  list  of,  ni  (note  i),  350; 
payment  for,  109;  time  occupied, 
109. 

Veneziano,  Agostino — Engraving  of 
Alexander  and  Roxana  attributed 
to,  139. 

Ventura  di  Ser  Giuliano,  125  (note  ^). 

Venturi,  Adolfo — Farnesina,  The,  139 
(note) ;  letter  of  Bazzi  to  Duke  of 
Ferrara,  164  (note  ^);  S.  Hotnobonus 
giving  Alms,  166  (note  '),  353. 

Verani,  Padre  Tomaso — Picture  dedi- 
cated by  the  Tana  family,  43. 

Vercelli  —  Art  centre,  5,  35,  51; 
Bazzi's  connection  with,  i,  6, 
8,  31,  home  at,  30,  31,  departure 
from,  53,  55,  paintings  at,  49,  52, 
53i  354i  379 ;  Martino  Spanzotto 
and  Giovanni  Trissino's  paintings 
in  S.  Paolo,  33,  39. 

Vergelle — Supposititious  birthplace 
of  Bazzi,  7. 

Verona,  Fra  Giovanni  da — Wood- 
carving  at  Monte  Oliveto  Maggiore, 
100. 


Verzelli :  see  Vercelli. 

Vesme,  Conte  A.  Baudi  di — Archivio 
Storico  delV  Arte,  references  to 
Spanzotto  and  his  paintings,  33 
(note  »),  34,  35  (note  »),  36  (note  % 
39  (note  *),  40,  43,  44,  49  (note  »), 
267  (note  1). 

Virgin  and  Child  pictures :  see  Ma- 
donna Paintings. 

Vita  de  B.  Pietro  Pettinaio,  La,  by 
Luigi  de  Angelis,  70  (note  '),  71 
(note  1),  87  (note  1). 

Vita  di  Benvenuto  Cellini,  La,  154 
(note  ). 

Viti,Timoteo — Alexander  and  Roxana, 
sketch  owned  by,  140  (note  ') ; 
pictures  and  drawings  attributed 
to,  102  (note  1),  254,  348  (note  % 
364,  368,  380. 

Volterra — Bazzi's  visits  to,  225-7  ; 
pictures,  226,   227,  352,  378. 

Volterra,  Daniele  di — Paintings,  5 
(note  1),  249,  352. 

Vulcan's  Forge:  see  Farnesina 
Frescoes. 

Way  of  the  Cross,  The:  see  Christ 

bearing  His  Cross. 
Weber,   Herr — Lucretia    owned   by, 

165  (note  '),  357. 
Weimar — Drawing  for  Leda  in  Grand 

Ducal  Palace,  366. 
Weizsacker,    Dr.    Heinrich — Catalog 

der  Gemdlde  Gallerie  des  Stadel- 

schen  Instituts,  60  (note  '),  356. 

Zacchetti,  Bernardino — 5".  Hotnobonus 
giving  Alms,  attributed  to,  by 
Venturi,  166  (note  *). 

Zeitschrift  filr  Bildende  Kunst — 
Article  by  Luise  M.  Richter,  66. 

Zunti,  E.  Scarabelli — MSS.  Com- 
munal Library,  Parma,  97  (note  *). 


Printed  by  Hazell,  Watson  &'  Viney,  Ld.,  London  and  Aylesbury. 


FROM   MR.   MURRAY'S   LIST 

THE  HIGH-ROAD  OF  EMPIRE.  Reproductions  in  Colour 
of  47  Water-Colour  Drawings  and  Numerous  Pen-and-ink  Sketches 
made  in  India.  By  A.  H.  Hallam  Murray.  Dedicated  by  gracious 
permission  to  H.R.H.  the  Princess  of  Wales.  This  is  a  companion 
volume  to  Mr.  Hallam  Murray's  "On  the  Old  Road  through  France 
to  Florence,"  which  met  with  great  success  last  year.  With  47 
Coloured  Plates.  Medium  8vo.  2is.  net.  Also  a  Limited  Edition  on 
large  paper  at  £2  2s.  net. 

"A  book  which  should  attract  many  who  have  the  opportunity  to  visit  India, 
and  which  will  be  a  pleasant  reminder  of  its  scenes  to  those  who  have  done  so  ;  for 
Mr.  Murray  has  a  quick  eye  for  the  curious  and  picturesque,  which  he  reproduces 
in  his  numerous  drawings  with  his  usual  skill  and  fidelity." — Times. 

ON  THE  OLD  ROAD  THROUGH  FRANCE  TO  FLOR- 
ENCE. Reproductions  in  Colour  of  48  Water-Colour  Sketches. 
By  A.  H.  Hallam  Murray.  With  Text  by  H.  W,  Nevinson  and 
Montgomery  Carmichael.     Second  Edition.     Medium  8vo.     21s.  net. 

"Mr.  Hallam  Murray  must  feel  himself  in  the  danger  of  him  of  whom  all 
men  speak  well,  for  his  sketches  have  not  only  received  praise  from  fellow-artists 
chary  of  their  commendations  in  general,  but  they  have  also  been  enthusiastically 
received  by  people  devoid  of  any  artistic  sense,  yet  charmed  to  recognise  the 
distinctive  characteristics  of  the  places  represented.  His  work  is  beyond  doubt 
the  best  colour-book  yet  issued." — Atheitceum. 

RESEARCHES  IN  SINAI.  By  Professor  William  Flinders 
Petrie,  D.C.L.,  LL.D.,  F.R.S.    With  about  200  Illustrations.    Demy  8vo. 

A  HISTORY  OF  ANCIENT  POTTERY.  Greek,  Etruscan 
and  Roman.  Based  on  Samuel  Birch's  Famous  Work.  By  Henry  B. 
Walters,  M.A.,  Assistant  in  the  Department  of  Greek  and  Roman 
Antiquities,  British  Museum.  With  numerous  Illustrations.  2  Vols. 
Medium  8vo.     ^3  y.  net. 

"  Mr.  Walters  has  produced  a  new  book,  which  gathers  up  the  latest  results  ot 
the  study  of  vases  as  fully  and  accurately  as  Dr.  Birch's  book  reflected  the  knovv- 
ledge  of  the  last  generation.  It  is  well  written,  it  is  superbly  illustrated  both  in 
black-and-white  and  in  colours,  and  it  will  for  the  next  thirty  years  or  so  be  the 
one  work  on  vases  which  any  English  student  of  art  and  life  of  Ancient  Greece 
must  read." — Daily  Chronicle. 

REASON  IN  ARCHITECTURE.  Being  the  forthcoming 
Course  of  Lectures  on  Architecture  to  the  Royal  Academy.  By  Thomas 
Graham  Jackson,  R.A.     With  many  Illustrations.     Medium  8vo. 


THE  ROYAL  ACADEMY  AND  ITS  MEMBERS,  1768- 

1830,  By  the  late  J.  E.  Hodgson,  R.A.,  Librarian  and  Professor  of 
Painting  in  the  Royal  Academy,  and  F,  A.  Eaton,  M.A.,  Secretary. 
With  Portraits  and  Illustrations.     Large  Demy  8vo.     21s.  net. 

"So  entertaining  and  so  useful  that  one  only  regrets  that  the  book  should 
stop  at  the  year  1830." — The  Times. 

"  Of  undoubted  interest  for  all  who  find  attraction  in  the  study,  pursuit,  or 
literature  of  art." — The  Globe. 


THE     LIVERPOOL     SCHOOL     OF     PAINTERS.       An 

Account  of  the  Liverpool  Academy,  from  18 10  to  1867.  By  H.  C. 
Marillier.  With  Memoirs  of  the  Leading  Artists.  With  Illustrations. 
Square  Demy  8vo,     los.  6d.  net. 

NOTES  ON  THE  AUTHENTIC  PORTRAITS  OF 
MARY  QUEEN  OF  SCOTS.  Based  on  the  Researches  of 
the  late  Sir  George  Scharf,  Director  of  the  National  Portrait  Gallery. 
Rewritten  in  the  light  of  new  information.  By  Lionel  Cust,  Director, 
Keeper  and  Secretary  of  the  National  Portrait  Gallery.  With  many  Illus- 
trations.    Small  4to.     ;^3  3^.  net. 

INDIAN  ART  AT  DELHI,  1903.  Being  the  Official  Cata- 
logue of  the  Delhi  Exhibition,  1902- 1903.  By  Sir  George  Watt,  C.I.E., 
M.B.,  etc.  The  Illustrative  part  by  Percy  Brown,  A.R.C.A.,  Assistant- 
Director.     Medium  8vo.     \2s.  net. 

"  Sir  George  Watt  and  Mr.  Percy  Brown  have  made  admirable  use  of  the 
opportunity  afforded  them.  Their  book  is  a  mine  of  information  about  the  arts 
and  crafts  of  our  great  Dependency.  .  .  .  These  extremely  interesting  pages.  It 
is  impossible  to  speak  too  highly  of  the  industry  and  knowledge  and  enthusiasm 
which  have  gone  to  their  compilation." — Daily  Chronicle. 

POINT  AND  PILLOW  LACE.  A  Short  Account  of  the 
various  kinds.  Ancient  and  Modern,  and  how  to  Recognise  them.  By 
A.  M.  S.  With  Photogravure  Frontispiece  and  more  than  forty  other 
Facsimile  Illustrations  of  Specimens  of  Lace.     4to.     '•,$.  net. 

"  Altogether  a  better  handbook  of  lace  certainly  has  not  been,  and,  we  think, 
could  not  be,  written,  and  those  who  collect  lace  will  find  in  'A.  M.  S.'s  '  book  the 
most  valuable  help  in  naming  and  dating  these  specimens." — Guardian. 

THE  IDEALS  OF  THE  EAST,  with  special  reference  to  the 
Art  of  Japan.     By  Okakura-Kakuzo.     Crown  8vo.     5^.  net. 


THE  DRAWINGS  OF  THE  FLORENTINE 
PAINTERS.  Classified,  Criticised  and  Studied  as  Documents  in  the 
History  and  Appreciation  of  Tuscan  Art.  By  Bernhard  Berenson. 
With  a  Copious  Catalogue  Raisonn6  and  i8o  Facsimile  Illustrations. 
2  Vols.  Folio.  £p.\  net. 
"This  is  a  truly  great  work,  in  more  senses  than  one  ...  a  masterpiece  of 
printing  and  illustration."' — The  Times. 

"The  appearance  of  these  magnificent  volumes,  to  which  the  author  has 
devoted  years  of  patient  and  arduous  study,  has  long  been  eagerlj-  awaited.  .  .  . 
Both  in  the  value  and  interest  of  the  letterpress,  and  in  the  beauty  and  profusion 
of  the  illustrations  which  adorn  its  pages,  the  work  before  us  does  the  highest 
credit  alike  to  author  and  publisher  .  .  .  this  work  on  which  so  much  labour 
and  love  have  been  expended,  will  be  warmly  welcomed  by  a  large  circle  of 
students,  and  will  obtain  the  recognition  which  it  deserves  as  the  standard 
authority  on  a  subject  of  great  and  permanent  interest." — The  Guardian. 

A  HISTORY  OF  PAINTING  IN  ITALY,  UMBRIA, 
FLORENCE,  AND  SIENA,  from  the  2nd  to  the  i6th 
Century.  By  Sir  J.  A.  Crowe  and  G.  B.  Cavalcaselle.  A  New 
Edition,  with  Editorial  Notes  by  Langton  Douglas,  with  upwards  of 
200  Illustrations.  Large  Demy  8vo.  Six  Volumes.  £1  is.  net  each. 
Vol.  I. — Early  Christian  Art. 
Vol.  II. — Giotto  and  the  Giottesques. 

THE   FINE  ARTS.     The  Origin,  Aims,  and  Condition  of  Artistic 
Work    as  applied   to    Painting,    Sculpture,    and   Architecture.      By   G 
Baldwin  Brown,  M.A.,  Professor  of   Fine  Art   in  the   University  of 
Edinburgh ;    formerly   Fellow    of    Brasenose    College,    Oxford.       New 
Edition.     With  many  new  Illustrations.     Crown  8vo.     6^.  net. 

THE  ARTS  IN  EARLY  ENGLAND.  By  G.  Baldwin 
Brown,  M.A.,  Professor  of  Fine  Art  in  the  University  of  Edinburgh  ; 
formerly  Fellow  of  Brasenose  College,  Oxford.  With  Illustrations. 
Vols.  I.  &  II.     Royal  Bvo.     32^.  net. 

Vol.  I. — The  Life  of  the  Saxon  England  in  its  Relation  to  the  Arts. 

Vol.  II. — Ecclesiastical  Architecture  in  England  from  the  Introduction 
of  Christianity  to  the  Norman  Conquest. 

THE  ITALIAN  SCHOOLS  OF  PAINTING.  Sixth 
Edition.  Thoroughly  Revised,  and  in  part  Rewritten  by  Austen 
Henry  Layard,  G.C.B.,  D.C.L.  With  a  new  Photogravure  Frontispiece 
of  the  Academy  Leonardo  Cartoon.  In  2  Vols.,  with  nearly  250 
Illustrations.     Square  Demy  Bvo.     30J. 

GERMAN,  FLEMISH,  AND   DUTCH   SCHOOLS. 

Third   Edition.      Thoroughly  Revised,  and   in   part   Rewritten   by    Sir 
J.  A.  Crowe.     With  Illustrations.     2  Vols.     Crown  Bvo.     24s. 


ITALIAN  PAINTERS.  Critical  Studies  of  their  Works.  By 
Giovanni  Morelli  (Ivan  Lermolieff).  Translated  from  the  German 
by  Constance  J OCELYN  Fkoulkes.  With  Illustrations.  8vo.  155.  each 
Volume. 

Vol.  I. — The  Borghese  and  Doria-Pamfili  Galleries  in  Rome. 
Vol.  II. — The  Galleries  of  Munich  and  Dresden. 

LIVES  OF  THE  ITALIAN  PAINTERS,  and  the  Pro- 
gress of  Painting  in  Italy  :  Cimabue  to  Bassano.  By  Mrs.  Jameson.. 
Illustrations.     Post  8vo.     12^. 

THE  PAINTERS  OF  FLORENCE.  From  the  Thirteenth 
to  the  Sixteenth  Century.  By  Julia  Cartwright  (Mrs.  Ady).  With 
Illustrations.     Crown  8vo.     6s.  net. 

"  An  excellent  handbook  ...  of  great  use,  both  to  travellers  in  Italy  and  to 
those  who  wish  to  learn  the  outlines  of  Florentine  art  history  in  the  galleries  at 
home." — Times. 

THE  FRESCOES  IN  THE  SIXTINE  CHAPEL  IN 
ROME.  By  Miss  Evelyn  March  Phillipps.  With  24  Illustrations 
and  a  Photogravure  Frontispiece.     Crown  Bvo.     6^.  net. 

"  Miss  Phillipps  has  written  a  handy  book,  which  travellers  intelligently 
interested  in  Italian  Art  could,  greatly  to  their  advantage,  take  with  them  to 
Rome.  .  .  .  The  volume  is  well  suited  to  its  purpose,  and  that  purpose  is  one 
which  may  be  warmly  commended." — Times. 

THE  HISTORY  OF  SIENA.  By  Professor  Langton  Douglas. 
With  Maps,  Photogravures,  and  other  Illustrations.  Medium  8vo.  255. 
net. 

"  Mr.  Langton  Douglas's  '  History  of  Siena '  is  learned,  interesting,  and  de- 
lightful to  read.  The  earnestness  and  enthusiasm  with  which  he  writes  would 
take  a  reader  captive,  as  his  subject  has  taken  him,  even  if  that  subject  were 
not  itself  fascinating  in  the  highest  degree.  Siena,  with  her  faults,  frivolitieSj 
and  commercial  immoralities,  has  made  a  complete  conquest  of  her  chronicler.  .  .  . 
We  have  not  room  to  do  much  more  than  recommend  the  work  to  all  who  know 
Siena,  and  also  to  all  who  do  not." — The  Spectator. 


J? 


RECENT  EXCAVATIONS  IN  THE  ROMAN  FORUM, 

1898-1905.     By  Mrs.  E.  Burton-Brown.    New  and  Cheaper  Edition, 
Illustrations  and  Plans.     F'cap  8vo.     "zs.  net. 

"Valuable   handbook.  .    .    .   One  cannot   sufficiently   praise   the   lucidity  and 
brevity  of  Mrs.  Burton-Brown's  work." — Morning  Post. 


London  :   JOHN   MURRAY,  Albemarle  Street,  W. 


Jt 


LD21- 


RETURN     CIRCULATION  DEPARTMENT 
TO^il»►      202  Main  Library 


LOAN  PERIOD  1 
HOME  USE 


ALL  BOOKS  MAY  BE  RECALLED  AFTER  7  DAYS 

Renewals  and  Recharges  may  be  made  4  days  prior  to  the  due  date. 

Books  may  be  Renewed  by  calling     642-3405. 

DUE  AS  STAMPED  BELOW 


APR  1  3  1B94 


Juic|/5/^^^ 


AUTO  DISC  CIRC    W  1  8  ^04 


A(?MSl^&ril894 


J105194 


AUG'^^1C94 


AUTO  DISC  CIRC 


AUG  06  34 


FORM  NO.  DD6 


UNIVERSITY  OF  CALIFORNIA,  BERKELEY 
BERKELEY,  CA  94720 


I 


-■'V;.,.  -4#'i: 


u.c 

.  BERKELEY  LIBRARIES 

1  1 

■ 

CD4blDD3bE 

I 


